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"content": "\u003cp>Thirty years ago this month, \u003cem>Madonna: Truth or Dare\u003c/em> was released to much fanfare. The documentary—part concert movie, part backstage exposé—captured the singer’s 1990 Blond Ambition world tour. It would be the highest grossing documentary of all time for the next 12 years.\u003c/p>\n\u003cp>Today, \u003cem>Truth or Dare\u003c/em> stands as a feminist moment awkwardly sandwiched between its second and third waves. At the same time, the movie is probably most remembered for its strides toward gay visibility. The film presented Madonna’s touring crew as one big, (usually) happy family. And because all but one of her dancers were gay, same-sex relationships were presented in the film as just the same as everyone else’s. In 1991, in the midst of the AIDS crisis, the impact of that cannot be overstated.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NSZeyJPQT2A\u003c/p>\n\u003cp>It wasn’t just Madonna’s relationships with her dancers, either. At one genuinely vulnerable point, she is seen dedicating a concert to \u003ca href=\"http://www.newnownext.com/keith-haring-birthday-60-madonna-brooke-shields/05/2018/\" target=\"_blank\" rel=\"noopener noreferrer\">her friend Keith Haring\u003c/a>, who had recently lost his life to AIDS-related complications. Later, we see her lunching with her friend Sandra Bernhard, as the two casually discuss the woman Bernhard is sleeping with.\u003c/p>\n\u003cp>As one of the biggest pop stars in the world at the time, Madonna’s example mattered. She knew it, and so did Alek Keshishian, her 26-year-old director. “I was in this bubble where that was just all accepted,” \u003ca href=\"https://www.nytimes.com/2016/08/26/arts/music/madonna-truth-or-dare-alek-keshishian.html\" target=\"_blank\" rel=\"noopener noreferrer\">Keshishian told the \u003cem>New York Times\u003c/em>\u003c/a> in 2016. “I felt instinctively that I wanted to get across how in Madonna’s world, homosexuality was just a fact of life. These dancers, who she felt so close to, they were going through that age of AIDS. There was still so much stigma against it. I felt personally the power of putting that out, but I had no idea that it might resonate with others quite the way it did.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2016, \u003cem>Huffington Post\u003c/em>‘s \u003ca href=\"https://www.huffpost.com/entry/madonnas-groundbreaking-t_b_9238490\" target=\"_blank\" rel=\"noopener noreferrer\">Daryl Deino wrote\u003c/a> about the impact \u003cem>Truth or Dare\u003c/em> had on him as a closeted young man in Skokie, Illinois.\u003c/p>\n\u003cblockquote>\u003cp>[There] was a scene of a gay pride parade—something I had never seen before … Madonna’s dancers stand in the sidelines while people march, screaming, ‘We’re here. We’re queer. Get used to it!‘ There are all types of people … ‘Even I could fit in there,’ I thought. That moment changed my life … Madonna’s dancers were now my heroes. They let me know that it was okay to be different. Even if you are a part of the LGBT community, you wouldn’t understand what I felt unless you lived through the ‘80s or early ‘90s as a teenager.\u003c/p>\u003c/blockquote>\n\u003cp>It’s important to acknowledge in 2021 just how crucial the documentary was at the time. Because for audiences watching now who didn’t live through the era, there is much in \u003cem>Truth or Dare\u003c/em> to be offended by.\u003c/p>\n\u003cp>For one, the movie is riddled with gay slurs. It’s impossible not to flinch now, watching Madonna drop so many ‘F’ bombs. At one point, she tells one of her dancers, “I wouldn’t hire fags that hate women. I kill fags that hate women. In fact, I kill anybody who hates women.” Cringeworthy though it is, the scene is a reflection of the ‘90s as a period of reclaiming historically hostile language, and a reminder that allies at the time were permitted to do the same. (By the end of the decade, even the ladies of \u003cem>Sex and the City\u003c/em> were using the other ‘F’ word.)\u003c/p>\n\u003cp>[aside postid='arts_13915838']That outburst is especially tough to sit through after scenes in which the one straight dancer Madonna has hired appears to hate gay men. “It’s my first time working with fags,” Oliver Crumes tells the camera. “Have you ever seen [dancer] Luis [Camacho] walk in his underwear in front of just a whole bunch of people? I don’t have no kind of respect for these people. We know he’s a fag, or gay, or whatever you wanna call it. But you don’t have to show it to everybody.”\u003c/p>\n\u003cp>Crumes \u003ca href=\"https://www.vulture.com/2021/05/madonna-truth-or-dare-oral-history.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently admitted to \u003cem>Vulture\u003c/em>\u003c/a>: “Before the tour started, I was homophobic. I wasn’t all with it. Learning from all the guys what their lives were like when they were young was just mind-blowing. If it wasn’t for Madonna and that tour, I would never have got that experience.”\u003c/p>\n\u003cp>In the same interview, backing vocalist Donna DeLory stands by the movie as one that empowers women. “My daughter is 18,” she says, “and in this day and age, she watches that movie and sees nothing but strength. She sees a role model. To be around a woman like Madonna was just like, ‘Yes!’ We felt taken care of.”\u003c/p>\n\u003cp>It’s true that, for the most part, the Madonna we see in \u003cem>Truth or Dare\u003c/em> is powerful, always in control, and astoundingly disciplined with her work ethic. She goes far above and beyond the 21st century idea of leaning in. But the way she handles a sexual assault, mid-tour, is jaw-dropping to witness in the post-#MeToo age. After one of her makeup artists, Sharon Gault, is attacked in New York City, the only member of the crew who seems appropriately concerned is dancer Carlton Wilborn.\u003c/p>\n\u003cp>“She was at the club dancing,” Wilborn tells Madonna, backstage. “The next thing she knew was that she woke up in her room nude, and her stuff was stolen, and she went to the bathroom and her butt was bleeding.” Madonna responds by covering her face, nervously laughing, then offering an explainer.\u003c/p>\n\u003cp>“I don’t know how you wouldn’t remember something like that,” she says. “They drugged her ass. All I can think of is that she started talking about how she was on tour with me, she’s staying at the Ritz Carlton and those guys, whoever they were, got it in their mind that they were going to fuck with her.”\u003c/p>\n\u003cp>Juxtaposed with the scene between Madonna and Wilborn is one in which Gault relays her experience. “I never thought that something like that would ever happen to me,” a visibly shellshocked Gault tells DeLory and fellow backing vocalist, Niki Haris. “It was a nice club. It was really nice. And there were nice people there, and I was dancing with these boys. I was totally sober … And then next thing I know, I wake up this morning. I’m never going to go out by myself again.”\u003c/p>\n\u003cp>[aside postid='pop_112976']At no point does anyone attempt to contact police, or the club at which Gault was drugged, or get medical or therapeutic assistance for her. The assault is treated as simply a hazard of being naive in New York City, and a particularly harsh life lesson. For anyone still wondering why so many of Harvey Weinstein’s and Bill Cosby’s accusers didn’t come forward sooner, this moment in \u003cem>Truth or Dare\u003c/em> stands as an efficient explainer.\u003c/p>\n\u003cp>The legacy of \u003cem>Truth or Dare\u003c/em> is further complicated by the fact that three dancers—Crumes, Gabriel Trupin and Kevin Stea—sued Madonna in 1992 over the film, in part, for invasion of privacy. The three had not wanted certain scenes included in the film, and felt they had not been adequately compensated for their contributions. The case was settled out of court in 1994. This year, Stea told \u003cem>Vulture\u003c/em>, “The choice I made to do the lawsuit was literally because I said, ‘What would she do? She would fight for herself’ … She kept telling me, ‘Don’t let people take advantage of you.’”\u003c/p>\n\u003cp>When all is said and done, \u003cem>Truth or Dare\u003c/em> may not be perfect, but it \u003cem>is\u003c/em> a perfect snapshot of early 1990s culture, messy though it was. Its status as a groundbreaking work of both female and LGBT empowerment is certainly warranted, despite how 2021 audiences might react to the language and attitudes caught on camera. That three of the dancers featured—Wilborn, Trupin and Salim Gauwloos— were, unbeknownst to audiences, living with HIV or AIDS at the time of filming only serves to give the film added poignancy. (San Francisco resident \u003ca href=\"https://www.sfgate.com/news/article/OBITUARY-Gabriel-Trupin-3017397.php\" target=\"_blank\" rel=\"noopener noreferrer\">Trupin\u003c/a> died just five years after appearing in \u003cem>Truth or Dare\u003c/em>.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Alek’s particular vision really paid tribute to gay culture,” dancer Kevin Stea noted this year. “Being gay himself and sharing the humanity of our community is what gave this movie long-lasting legs, and power, and iconic status.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2016, \u003cem>Huffington Post\u003c/em>‘s \u003ca href=\"https://www.huffpost.com/entry/madonnas-groundbreaking-t_b_9238490\" target=\"_blank\" rel=\"noopener noreferrer\">Daryl Deino wrote\u003c/a> about the impact \u003cem>Truth or Dare\u003c/em> had on him as a closeted young man in Skokie, Illinois.\u003c/p>\n\u003cblockquote>\u003cp>[There] was a scene of a gay pride parade—something I had never seen before … Madonna’s dancers stand in the sidelines while people march, screaming, ‘We’re here. We’re queer. Get used to it!‘ There are all types of people … ‘Even I could fit in there,’ I thought. That moment changed my life … Madonna’s dancers were now my heroes. They let me know that it was okay to be different. Even if you are a part of the LGBT community, you wouldn’t understand what I felt unless you lived through the ‘80s or early ‘90s as a teenager.\u003c/p>\u003c/blockquote>\n\u003cp>It’s important to acknowledge in 2021 just how crucial the documentary was at the time. Because for audiences watching now who didn’t live through the era, there is much in \u003cem>Truth or Dare\u003c/em> to be offended by.\u003c/p>\n\u003cp>For one, the movie is riddled with gay slurs. It’s impossible not to flinch now, watching Madonna drop so many ‘F’ bombs. At one point, she tells one of her dancers, “I wouldn’t hire fags that hate women. I kill fags that hate women. In fact, I kill anybody who hates women.” Cringeworthy though it is, the scene is a reflection of the ‘90s as a period of reclaiming historically hostile language, and a reminder that allies at the time were permitted to do the same. (By the end of the decade, even the ladies of \u003cem>Sex and the City\u003c/em> were using the other ‘F’ word.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That outburst is especially tough to sit through after scenes in which the one straight dancer Madonna has hired appears to hate gay men. “It’s my first time working with fags,” Oliver Crumes tells the camera. “Have you ever seen [dancer] Luis [Camacho] walk in his underwear in front of just a whole bunch of people? I don’t have no kind of respect for these people. We know he’s a fag, or gay, or whatever you wanna call it. But you don’t have to show it to everybody.”\u003c/p>\n\u003cp>Crumes \u003ca href=\"https://www.vulture.com/2021/05/madonna-truth-or-dare-oral-history.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently admitted to \u003cem>Vulture\u003c/em>\u003c/a>: “Before the tour started, I was homophobic. I wasn’t all with it. Learning from all the guys what their lives were like when they were young was just mind-blowing. If it wasn’t for Madonna and that tour, I would never have got that experience.”\u003c/p>\n\u003cp>In the same interview, backing vocalist Donna DeLory stands by the movie as one that empowers women. “My daughter is 18,” she says, “and in this day and age, she watches that movie and sees nothing but strength. She sees a role model. To be around a woman like Madonna was just like, ‘Yes!’ We felt taken care of.”\u003c/p>\n\u003cp>It’s true that, for the most part, the Madonna we see in \u003cem>Truth or Dare\u003c/em> is powerful, always in control, and astoundingly disciplined with her work ethic. She goes far above and beyond the 21st century idea of leaning in. But the way she handles a sexual assault, mid-tour, is jaw-dropping to witness in the post-#MeToo age. After one of her makeup artists, Sharon Gault, is attacked in New York City, the only member of the crew who seems appropriately concerned is dancer Carlton Wilborn.\u003c/p>\n\u003cp>“She was at the club dancing,” Wilborn tells Madonna, backstage. “The next thing she knew was that she woke up in her room nude, and her stuff was stolen, and she went to the bathroom and her butt was bleeding.” Madonna responds by covering her face, nervously laughing, then offering an explainer.\u003c/p>\n\u003cp>“I don’t know how you wouldn’t remember something like that,” she says. “They drugged her ass. All I can think of is that she started talking about how she was on tour with me, she’s staying at the Ritz Carlton and those guys, whoever they were, got it in their mind that they were going to fuck with her.”\u003c/p>\n\u003cp>Juxtaposed with the scene between Madonna and Wilborn is one in which Gault relays her experience. “I never thought that something like that would ever happen to me,” a visibly shellshocked Gault tells DeLory and fellow backing vocalist, Niki Haris. “It was a nice club. It was really nice. And there were nice people there, and I was dancing with these boys. I was totally sober … And then next thing I know, I wake up this morning. I’m never going to go out by myself again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At no point does anyone attempt to contact police, or the club at which Gault was drugged, or get medical or therapeutic assistance for her. The assault is treated as simply a hazard of being naive in New York City, and a particularly harsh life lesson. For anyone still wondering why so many of Harvey Weinstein’s and Bill Cosby’s accusers didn’t come forward sooner, this moment in \u003cem>Truth or Dare\u003c/em> stands as an efficient explainer.\u003c/p>\n\u003cp>The legacy of \u003cem>Truth or Dare\u003c/em> is further complicated by the fact that three dancers—Crumes, Gabriel Trupin and Kevin Stea—sued Madonna in 1992 over the film, in part, for invasion of privacy. The three had not wanted certain scenes included in the film, and felt they had not been adequately compensated for their contributions. The case was settled out of court in 1994. This year, Stea told \u003cem>Vulture\u003c/em>, “The choice I made to do the lawsuit was literally because I said, ‘What would she do? She would fight for herself’ … She kept telling me, ‘Don’t let people take advantage of you.’”\u003c/p>\n\u003cp>When all is said and done, \u003cem>Truth or Dare\u003c/em> may not be perfect, but it \u003cem>is\u003c/em> a perfect snapshot of early 1990s culture, messy though it was. Its status as a groundbreaking work of both female and LGBT empowerment is certainly warranted, despite how 2021 audiences might react to the language and attitudes caught on camera. That three of the dancers featured—Wilborn, Trupin and Salim Gauwloos— were, unbeknownst to audiences, living with HIV or AIDS at the time of filming only serves to give the film added poignancy. (San Francisco resident \u003ca href=\"https://www.sfgate.com/news/article/OBITUARY-Gabriel-Trupin-3017397.php\" target=\"_blank\" rel=\"noopener noreferrer\">Trupin\u003c/a> died just five years after appearing in \u003cem>Truth or Dare\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Alek’s particular vision really paid tribute to gay culture,” dancer Kevin Stea noted this year. “Being gay himself and sharing the humanity of our community is what gave this movie long-lasting legs, and power, and iconic status.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’m tempted to say that the pandemic has been crueler to narrative filmmakers than to documentarians, for the obvious reason that it slammed the door on rehearsals and shoots. But my only real evidence is anecdotal, namely the preponderance of new docs on display locally at last month’s International Ocean and Livable Planet Film Festivals, next month’s DocFest and the front-and-center \u003ca href=\"https://www.doclands.com\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, running May 7–16 online and at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>To be sure, some of the selections of the Mill Valley Film Festival’s nonfiction offshoot have already screened hereabouts via the online/drive-in Sundance and/or SFFILM Festivals. Here’s another chance to see Debbie Lum’s verité portrait of a year at Lowell High, \u003cem>Try Harder!\u003c/em> (streaming May 14-16 only), Mariem Pérez Riera’s \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (May 9-11, ahead of its June theatrical release) and \u003cem>Amy Tan: Unintended Memoir\u003c/em> (at the Rafael May 9 with the author in person, and May 11; also \u003ca href=\"https://www.pbs.org/wnet/americanmasters/stream-amy-tan-unintended-memoir-documentary/17722/\" rel=\"noopener noreferrer\" target=\"_blank\">streaming for free\u003c/a> on the PBS website until May 17).\u003c/p>\n\u003cp>A couple other energetic cultural explorations make the Bay Area scene between their Sundance debuts and upcoming theatrical runs. Edgar Wright’s ear- and eye-opening \u003cem>The Sparks Brothers\u003c/em> reflects and remixes the long-running musical creativity of L.A. siblings Russell and Ron Mael, while Questlove’s crowd-rousing \u003cem>Summer of Soul (…Or, When the Revolution Could Not Be Televised)\u003c/em> excavates the rhythmic and bluesy tapes of the summer-long 1969 Harlem Cultural Festival featuring Sly & the Family Stone, Nina Simone and other showstoppers.\u003c/p>\n\u003cfigure id=\"attachment_13896836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg\" alt=\"\" width=\"1200\" height=\"610\" class=\"size-full wp-image-13896836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-800x407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-1020x519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-768x390.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The New Corporation: The Unfortunately Necessary Sequel.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local filmmaker Sachi Cunningham pairs with Vayabobo to profile multimedia artist and performer Bill Shannon, who transformed his childhood illness (Perthes disease, a degenerative hip condition) into the foundation of his movement-oriented work, in \u003cem>Crutch\u003c/em>. Life and art also intersect with thunderous force in Rosalynde LeBlanc and Tom Hurwitz’s \u003cem>Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/em>, which entwines the history of the choreographer’s 1989 ballet with a contemporary staging by dancers born after the AIDS pandemic.\u003c/p>\n\u003cp>Making art is a life’s work, and we frequently discount that aspect of an artist’s career. At the same time, we often invest artmaking with more status (and glamour) than other forms of work. The labor-focused filmmakers Julia Reichert and Steven Bognar, who won the Best Documentary Feature Oscar a year ago for \u003cem>American Factory\u003c/em> (Netflix), have long recognized the dignity of blue-collar jobs and are rightfully recognized with this year’s DocLands Honors Award.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reichert and Bognar’s latest film, the historical doc \u003cem>9to5: Story of a Movement\u003c/em>, played the Mill Valley Film Festival last fall and returns to stream at DocLands with three of their recent short films. For those on the budget (like aspiring filmmakers), the festival streams an interview with the filmmakers plus a virtual screening of their 2009 featurette, \u003cem>The Last Truck: Closing of a GM Plant\u003c/em>, for free.\u003c/p>\n\u003cp>The essay film may be my favorite documentary form, although it’s typically too challenging (not enough story) or too personal (not enough distance) to be widely appreciated. Theo Anthony’s Sundance prize-winning \u003cem>All Light, Everywhere\u003c/em> (streaming, and May 7 at the Rafael; opens in June) uses police bodycams as the lens (pun intended) through which to view big, basic building blocks of perception and technology, and the societal implications of individual decisions and biases.\u003c/p>\n\u003cfigure id=\"attachment_13896834\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13896834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Magnitude of All Things.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Canadian filmmaker Jennifer Abbott is represented by two troubling opuses that take vastly different approaches to global threats. \u003cem>The New Corporation: The Unfortunately Necessary Sequel\u003c/em> (streaming May 13–15 only), co-directed with Joel Bakan, updates her 2003 film (also based on Bakan’s writings) to assess the effects of profit-centered companies on not just climate change but personal freedoms.\u003c/p>\n\u003cp>In \u003cem>The Magnitude of All Things\u003c/em> (May 8 at the Rafael, streaming May 14–16 only), Abbott poetically links her grief for the sister she lost to cancer to the traumas of indigenous people witnessing the erosion or destruction of their habitats in the Arctic, the Ecuadorian Amazon, Canada and Australia. An elegy that acknowledges we are all part of the planet’s sickness, \u003cem>The Magnitude of All Things\u003c/em> is perhaps best appreciated by those who feel alone in their despair.\u003c/p>\n\u003cp>It’s not surprising that a film about grief can prove comforting, but it doesn’t lend itself to a fizzy marketing slogan. Let’s just say that Abbott manages to find some light amid the coming devastation, in the character, creativity and determination of ordinary people. Come to think of it, that last bit pretty well sums up DocLands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>DocLands streams online May 7–16, with several in-person screenings at the Smith Rafael Film Center. \u003ca href=\"https://www.doclands.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m tempted to say that the pandemic has been crueler to narrative filmmakers than to documentarians, for the obvious reason that it slammed the door on rehearsals and shoots. But my only real evidence is anecdotal, namely the preponderance of new docs on display locally at last month’s International Ocean and Livable Planet Film Festivals, next month’s DocFest and the front-and-center \u003ca href=\"https://www.doclands.com\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, running May 7–16 online and at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>To be sure, some of the selections of the Mill Valley Film Festival’s nonfiction offshoot have already screened hereabouts via the online/drive-in Sundance and/or SFFILM Festivals. Here’s another chance to see Debbie Lum’s verité portrait of a year at Lowell High, \u003cem>Try Harder!\u003c/em> (streaming May 14-16 only), Mariem Pérez Riera’s \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (May 9-11, ahead of its June theatrical release) and \u003cem>Amy Tan: Unintended Memoir\u003c/em> (at the Rafael May 9 with the author in person, and May 11; also \u003ca href=\"https://www.pbs.org/wnet/americanmasters/stream-amy-tan-unintended-memoir-documentary/17722/\" rel=\"noopener noreferrer\" target=\"_blank\">streaming for free\u003c/a> on the PBS website until May 17).\u003c/p>\n\u003cp>A couple other energetic cultural explorations make the Bay Area scene between their Sundance debuts and upcoming theatrical runs. Edgar Wright’s ear- and eye-opening \u003cem>The Sparks Brothers\u003c/em> reflects and remixes the long-running musical creativity of L.A. siblings Russell and Ron Mael, while Questlove’s crowd-rousing \u003cem>Summer of Soul (…Or, When the Revolution Could Not Be Televised)\u003c/em> excavates the rhythmic and bluesy tapes of the summer-long 1969 Harlem Cultural Festival featuring Sly & the Family Stone, Nina Simone and other showstoppers.\u003c/p>\n\u003cfigure id=\"attachment_13896836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg\" alt=\"\" width=\"1200\" height=\"610\" class=\"size-full wp-image-13896836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-800x407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-1020x519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/thenewcorporation_capitalism_1200-768x390.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The New Corporation: The Unfortunately Necessary Sequel.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local filmmaker Sachi Cunningham pairs with Vayabobo to profile multimedia artist and performer Bill Shannon, who transformed his childhood illness (Perthes disease, a degenerative hip condition) into the foundation of his movement-oriented work, in \u003cem>Crutch\u003c/em>. Life and art also intersect with thunderous force in Rosalynde LeBlanc and Tom Hurwitz’s \u003cem>Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/em>, which entwines the history of the choreographer’s 1989 ballet with a contemporary staging by dancers born after the AIDS pandemic.\u003c/p>\n\u003cp>Making art is a life’s work, and we frequently discount that aspect of an artist’s career. At the same time, we often invest artmaking with more status (and glamour) than other forms of work. The labor-focused filmmakers Julia Reichert and Steven Bognar, who won the Best Documentary Feature Oscar a year ago for \u003cem>American Factory\u003c/em> (Netflix), have long recognized the dignity of blue-collar jobs and are rightfully recognized with this year’s DocLands Honors Award.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reichert and Bognar’s latest film, the historical doc \u003cem>9to5: Story of a Movement\u003c/em>, played the Mill Valley Film Festival last fall and returns to stream at DocLands with three of their recent short films. For those on the budget (like aspiring filmmakers), the festival streams an interview with the filmmakers plus a virtual screening of their 2009 featurette, \u003cem>The Last Truck: Closing of a GM Plant\u003c/em>, for free.\u003c/p>\n\u003cp>The essay film may be my favorite documentary form, although it’s typically too challenging (not enough story) or too personal (not enough distance) to be widely appreciated. Theo Anthony’s Sundance prize-winning \u003cem>All Light, Everywhere\u003c/em> (streaming, and May 7 at the Rafael; opens in June) uses police bodycams as the lens (pun intended) through which to view big, basic building blocks of perception and technology, and the societal implications of individual decisions and biases.\u003c/p>\n\u003cfigure id=\"attachment_13896834\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13896834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/MagnitudeOfallThings_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Magnitude of All Things.’ \u003ccite>(DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Canadian filmmaker Jennifer Abbott is represented by two troubling opuses that take vastly different approaches to global threats. \u003cem>The New Corporation: The Unfortunately Necessary Sequel\u003c/em> (streaming May 13–15 only), co-directed with Joel Bakan, updates her 2003 film (also based on Bakan’s writings) to assess the effects of profit-centered companies on not just climate change but personal freedoms.\u003c/p>\n\u003cp>In \u003cem>The Magnitude of All Things\u003c/em> (May 8 at the Rafael, streaming May 14–16 only), Abbott poetically links her grief for the sister she lost to cancer to the traumas of indigenous people witnessing the erosion or destruction of their habitats in the Arctic, the Ecuadorian Amazon, Canada and Australia. An elegy that acknowledges we are all part of the planet’s sickness, \u003cem>The Magnitude of All Things\u003c/em> is perhaps best appreciated by those who feel alone in their despair.\u003c/p>\n\u003cp>It’s not surprising that a film about grief can prove comforting, but it doesn’t lend itself to a fizzy marketing slogan. Let’s just say that Abbott manages to find some light amid the coming devastation, in the character, creativity and determination of ordinary people. Come to think of it, that last bit pretty well sums up DocLands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>DocLands streams online May 7–16, with several in-person screenings at the Smith Rafael Film Center. \u003ca href=\"https://www.doclands.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Now Playing! This Must Be the Place. Right? | KQED",
"content": "\u003cp>The choice of location and setting is an essential element of most movies, even leaving aside the multitude of flicks that unfold in any-old big city, generic suburb, lookalike apartment and anonymous hotel room. From a barren Scottish island to frenetic Paris to stripped-down Stockholm, the sites of this week’s picks are intertwined with their characters’ states of mind.\u003c/p>\n\u003cfigure id=\"attachment_13896621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-800x580.jpg\" alt=\"A scene from 'Paris Calligrammes.'\" width=\"800\" height=\"580\" class=\"size-medium wp-image-13896621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-1536x1114.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Paris Calligrammes.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Paris Calligrammes\u003c/strong>\u003c/em> \u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://bampfa.org/event/paris-calligrammes\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA virtual screening room\u003c/a>\u003cbr>\nThe prolific German filmmaker, photographer and stage director Ulrike Ottinger has always been a seeker—of fellow artists, remote places and personal revelation. \u003cem>Paris Calligrammes\u003c/em>, slated to screen here a year ago as part of the COVID-cancelled SFFILM Festival, finds her buoyantly bringing to life a formative period in her artistic and personal development: Paris in the ’60s. An incredibly alive and pleasurable film, it marks a high point in the subgenre of first-person documentaries about impressionable youth.\u003c/p>\n\u003cp>Ottinger was just 20 when she lit out for Paris from her small rural town in 1962. Her Isetta microcar conked out en route, so she ditched it on the side of the road and hitchhiked the rest of the way. She gravitated to Saint-Germain-des-Prés, fell under the sway of German bookseller Fritz Picard, met a range of artists, began her career and rode the wave of political consciousness and social turmoil.\u003c/p>\n\u003cp>\u003cem>Paris Calligrammes\u003c/em> is utterly free of the off-putting cling of nostalgia, largely because Ottinger is far more interested in honoring and highlighting other people than in dominating the narrative. As a result, Ottinger’s erstwhile memoir works as both a record of a kinetic social history and as an inspiration to young artists seeking just such a scene today.\u003c/p>\n\u003cp>The film is part of an extensive BAMPFA retrospective, \u003ca href=\"https://bampfa.org/watch-from-home/east-meets-west-films-ulrike-ottinger\" rel=\"noopener noreferrer\" target=\"_blank\">East Meets West: The Films of Ulrike Ottinger\u003c/a>, which screens virtually in conjunction with a career-spanning exhibition of Ottinger’s photographs at the museum, which reopens Apr. 30.\u003c/p>\n\u003cfigure id=\"attachment_13896624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Limbo1-800x500.jpg\" alt=\"A scene from 'Limbo.'\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13896624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Limbo.’ \u003ccite>(MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Limbo\u003c/strong>\u003c/em>\u003cbr>\nOpens April 30\u003cbr>\nEmbarcadero Center Cinemas, Shattuck (Berkeley)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dramas about the refugee experience are usually, at their core, exercises in empathy, but writer-director Ben Sharrock achieves something far greater through a touching blend of slack-jawed absurdism, underplayed tragedy and well-played metaphors. While \u003cem>Limbo\u003c/em>, which received British Academy Award nominations for best film and best debut, refers most obviously to the months and months of suspended semi-animation that the film’s Middle Eastern and African characters endure awaiting the Scottish government’s dispensation of their requests for asylum, it also describes the disorienting period between the past (forever slipping through their fingers) and the unknowable future.\u003c/p>\n\u003cp>Culture shock is the least of the problems facing Syrian musician Omar (Amir El-Masry) and Afghan emigré Farhad (Vikram Bhai), part of a group of refugees stuck on a sparsely populated island with nothing to pass the time except role-play acculturation classes and \u003cem>Friends\u003c/em> episodes. (Sharrock supplies enough deadpan laughs to keep limbo from turning into hell.) Farhad is a loner with a secret passion for Freddie Mercury, while Omar endures guilt-rich conversations (via a phone booth in the middle of nowhere) with his parents in Turkey about his older brother in Syria, fighting with the opposition.\u003c/p>\n\u003cp>Everywhere he goes, Omar carries a cross in the form of his grandfather’s oud. The movie carries the weight of the metaphor to the breaking point—it’s hard to conceive of anything with less pragmatic value in this indifferent clime and place than an Arabic musical instrument—yet Sharrock manages to parlay the oud into a deeply moving expression of loyalty, friendship and love, as well as self-assertion and self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13896622\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/AboutEndlessness.jpg\" alt=\"A scene from 'About Endlessness.'\" width=\"750\" height=\"469\" class=\"size-full wp-image-13896622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/AboutEndlessness.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/AboutEndlessness-160x100.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘About Endlessness.’ \u003ccite>(Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>About Endlessness\u003c/strong>\u003c/em>\u003cbr>\nOpens Apr. 30\u003cbr>\n\u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://rafaelfilm.cafilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a>\u003c/p>\n\u003cp>The Swedish director Roy Andersson has been well-known in certain circles, locally and abroad, since his 2000 breakthrough, \u003cem>Songs from the Second Floor\u003c/em>. His style, on full view in the wonderful \u003cem>You, the Living\u003c/em> (2007) and, less successfully, \u003cem>A Pigeon Sat on A Branch Contemplating Existence\u003c/em> (2014), consists of a succession of mostly unrelated encounters between husbands and wives, doctors and patients, waiters and customers. They’re shot with a fixed camera set at the perfect distance from the characters to grant them their dignity (if not a total respite from embarrassment) and to relieve us from (most of) our discomfort.\u003c/p>\n\u003cp>Imagine \u003cem>New Yorker\u003c/em> cartoons without the captions, and you get an idea of Andersson’s surrealistically deadpan vignettes. They aren’t silent, to be sure, but they never pay off the way you’d expect. A man describes running into, and being ignored by, a person he hadn’t seen since school—and the incident repeats itself while he’s talking to us. (Andersson likes to knock down the fourth wall.)\u003c/p>\n\u003cp>\u003cem>About Endlessness\u003c/em> is, like Andersson’s other recent films, a grimly hilarious exposé of lives of quiet desperation that makes Stockholm look like a soundstage in a Samuel Beckett universe. But he also achieves moments of genuine pathos, notably via the recurring character of a pastor who, in one terrific sequence, plaintively repeats over and over, “What should I do now that I have lost my faith?” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Improbably, that’s also the funniest scene in the movie. No words can convey its grim levity, any more than describing a Buster Keaton stunt can duplicate the effect of seeing it. Andersson thinks in cinema, as well as Nordic philosophy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The choice of location and setting is an essential element of most movies, even leaving aside the multitude of flicks that unfold in any-old big city, generic suburb, lookalike apartment and anonymous hotel room. From a barren Scottish island to frenetic Paris to stripped-down Stockholm, the sites of this week’s picks are intertwined with their characters’ states of mind.\u003c/p>\n\u003cfigure id=\"attachment_13896621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-800x580.jpg\" alt=\"A scene from 'Paris Calligrammes.'\" width=\"800\" height=\"580\" class=\"size-medium wp-image-13896621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1-1536x1114.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ottinger_Paris-Calligrammes_001-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Paris Calligrammes.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Paris Calligrammes\u003c/strong>\u003c/em> \u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://bampfa.org/event/paris-calligrammes\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA virtual screening room\u003c/a>\u003cbr>\nThe prolific German filmmaker, photographer and stage director Ulrike Ottinger has always been a seeker—of fellow artists, remote places and personal revelation. \u003cem>Paris Calligrammes\u003c/em>, slated to screen here a year ago as part of the COVID-cancelled SFFILM Festival, finds her buoyantly bringing to life a formative period in her artistic and personal development: Paris in the ’60s. An incredibly alive and pleasurable film, it marks a high point in the subgenre of first-person documentaries about impressionable youth.\u003c/p>\n\u003cp>Ottinger was just 20 when she lit out for Paris from her small rural town in 1962. Her Isetta microcar conked out en route, so she ditched it on the side of the road and hitchhiked the rest of the way. She gravitated to Saint-Germain-des-Prés, fell under the sway of German bookseller Fritz Picard, met a range of artists, began her career and rode the wave of political consciousness and social turmoil.\u003c/p>\n\u003cp>\u003cem>Paris Calligrammes\u003c/em> is utterly free of the off-putting cling of nostalgia, largely because Ottinger is far more interested in honoring and highlighting other people than in dominating the narrative. As a result, Ottinger’s erstwhile memoir works as both a record of a kinetic social history and as an inspiration to young artists seeking just such a scene today.\u003c/p>\n\u003cp>The film is part of an extensive BAMPFA retrospective, \u003ca href=\"https://bampfa.org/watch-from-home/east-meets-west-films-ulrike-ottinger\" rel=\"noopener noreferrer\" target=\"_blank\">East Meets West: The Films of Ulrike Ottinger\u003c/a>, which screens virtually in conjunction with a career-spanning exhibition of Ottinger’s photographs at the museum, which reopens Apr. 30.\u003c/p>\n\u003cfigure id=\"attachment_13896624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Limbo1-800x500.jpg\" alt=\"A scene from 'Limbo.'\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13896624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Limbo1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Limbo.’ \u003ccite>(MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Limbo\u003c/strong>\u003c/em>\u003cbr>\nOpens April 30\u003cbr>\nEmbarcadero Center Cinemas, Shattuck (Berkeley)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dramas about the refugee experience are usually, at their core, exercises in empathy, but writer-director Ben Sharrock achieves something far greater through a touching blend of slack-jawed absurdism, underplayed tragedy and well-played metaphors. While \u003cem>Limbo\u003c/em>, which received British Academy Award nominations for best film and best debut, refers most obviously to the months and months of suspended semi-animation that the film’s Middle Eastern and African characters endure awaiting the Scottish government’s dispensation of their requests for asylum, it also describes the disorienting period between the past (forever slipping through their fingers) and the unknowable future.\u003c/p>\n\u003cp>Culture shock is the least of the problems facing Syrian musician Omar (Amir El-Masry) and Afghan emigré Farhad (Vikram Bhai), part of a group of refugees stuck on a sparsely populated island with nothing to pass the time except role-play acculturation classes and \u003cem>Friends\u003c/em> episodes. (Sharrock supplies enough deadpan laughs to keep limbo from turning into hell.) Farhad is a loner with a secret passion for Freddie Mercury, while Omar endures guilt-rich conversations (via a phone booth in the middle of nowhere) with his parents in Turkey about his older brother in Syria, fighting with the opposition.\u003c/p>\n\u003cp>Everywhere he goes, Omar carries a cross in the form of his grandfather’s oud. The movie carries the weight of the metaphor to the breaking point—it’s hard to conceive of anything with less pragmatic value in this indifferent clime and place than an Arabic musical instrument—yet Sharrock manages to parlay the oud into a deeply moving expression of loyalty, friendship and love, as well as self-assertion and self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13896622\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/AboutEndlessness.jpg\" alt=\"A scene from 'About Endlessness.'\" width=\"750\" height=\"469\" class=\"size-full wp-image-13896622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/AboutEndlessness.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/AboutEndlessness-160x100.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘About Endlessness.’ \u003ccite>(Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>About Endlessness\u003c/strong>\u003c/em>\u003cbr>\nOpens Apr. 30\u003cbr>\n\u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://rafaelfilm.cafilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a>\u003c/p>\n\u003cp>The Swedish director Roy Andersson has been well-known in certain circles, locally and abroad, since his 2000 breakthrough, \u003cem>Songs from the Second Floor\u003c/em>. His style, on full view in the wonderful \u003cem>You, the Living\u003c/em> (2007) and, less successfully, \u003cem>A Pigeon Sat on A Branch Contemplating Existence\u003c/em> (2014), consists of a succession of mostly unrelated encounters between husbands and wives, doctors and patients, waiters and customers. They’re shot with a fixed camera set at the perfect distance from the characters to grant them their dignity (if not a total respite from embarrassment) and to relieve us from (most of) our discomfort.\u003c/p>\n\u003cp>Imagine \u003cem>New Yorker\u003c/em> cartoons without the captions, and you get an idea of Andersson’s surrealistically deadpan vignettes. They aren’t silent, to be sure, but they never pay off the way you’d expect. A man describes running into, and being ignored by, a person he hadn’t seen since school—and the incident repeats itself while he’s talking to us. (Andersson likes to knock down the fourth wall.)\u003c/p>\n\u003cp>\u003cem>About Endlessness\u003c/em> is, like Andersson’s other recent films, a grimly hilarious exposé of lives of quiet desperation that makes Stockholm look like a soundstage in a Samuel Beckett universe. But he also achieves moments of genuine pathos, notably via the recurring character of a pastor who, in one terrific sequence, plaintively repeats over and over, “What should I do now that I have lost my faith?” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Improbably, that’s also the funniest scene in the movie. No words can convey its grim levity, any more than describing a Buster Keaton stunt can duplicate the effect of seeing it. Andersson thinks in cinema, as well as Nordic philosophy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "7 Takeaways From the Train-Station Oscars",
"headTitle": "7 Takeaways From the Train-Station Oscars | KQED",
"content": "\u003cp>\u003cstrong>1. Sometimes, there’s a reason things are done the way they are. \u003c/strong>Traditionally, Oscar night has ended with the announcement of the winner for best picture. This year, as the producers—including experienced risk-taker Steven Soderbergh—tried to mix it up a little in their train-station ceremony, they decided to change the order. They presented best picture to \u003cem>Nomadland\u003c/em>, then best actress to Frances McDormand, then best actor to Anthony Hopkins for \u003cem>The Father\u003c/em>. Hopkins wasn’t there, so presenter Joaquin Phoenix said the Academy accepted the award on his behalf, and because there was no host, that was pretty much it. Goodnight, everybody!\u003c/p>\n\u003cp>There were those who believed that this happened because there was a cynical calculation that the late Chadwick Boseman would win for \u003cem>Ma Rainey’s Black Bottom\u003c/em>, and that a speech—perhaps from his wife, Taylor Simone Ledward—would be a particularly emotional closing note for such a difficult and unusual year. If true, it was a highly cynical calculation, and if not, it showed a lack of foresight not to realize it might appear to be one. And whatever the intent, the result was that, instead of ending with a celebration on stage, as has happened with films like \u003cem>Moonlight \u003c/em>and \u003cem>Parasite \u003c/em>and other worthy winners, the entire three-plus-hour show ended with an award given to someone who wasn’t even there.\u003c/p>\n\u003cp>Experimentation? Sure. Innovation? Of course. Breaking the structure without thinking through how it might come off? That’s a dangerous approach.\u003c/p>\n\u003cp>\u003cstrong>2. Relaxed speeches are… well, they’re more relaxed. \u003c/strong>Without a live orchestra to play people off, some speeches stretched out in a way that, early on, seemed like it might mean the show would go on all night. Some were a bit meandering; some a bit undisciplined. But they were charming, too. And in some cases, that extra space allowed deeply emotional thoughts to be shared without fear of suddenly being interrupted, as when Thomas Vinterberg accepted the best international feature award for \u003cem>Another Round \u003c/em>and spoke movingly of the loss of his daughter in a car accident during production. It’s not just that Vinterberg got to speak, but that he got to speak without pressure and without the sense of a ticking clock. Whatever future Oscars ceremonies look like, it would be lovely to rethink the “speed through the list of names before you get cut off and don’t forget anyone important or powerful” format they often have.\u003c/p>\n\u003cp>\u003cstrong>3. Don’t be careless with In Memoriam. \u003c/strong>The In Memoriam segment is a production challenge: The audience tries to clap for certain people, the music has to feel appropriate, the visuals have to give at least a respectful amount of context for who each person was. Not so in 2021. Certainly, it was a year with a larger-than-average number of deaths, particularly among older people. But the answer to that would have been a longer segment. What they did instead was to cram the list into a segment that didn’t allow a lot of names to appear as much more than a flash on the screen—not even enough time for their names to be read. The math of dividing up a song, or parts of a song, to sync with a set of slides is not the art of it. That’s the beginning of it. The art of it is being careful not to accidentally disrespect the people you’re trying to honor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>4. Play the clips. \u003c/strong>The producers discarded the feeling that the Oscars telecast often has that it’s a big, goofy, splashy, intermittently musical party. Instead, they staged a sort of a staid banquet like you might see at the end of a long fundraising campaign for a fancy museum, where everyone thanked everyone else for their hard work. So, instead of seeing clips of the particularly strong best actress field, we saw presenter (and last year’s winner) Renee Zellweger personally say how much she liked each of the performances. That kind of direct address can have its place, but clips—particularly in categories like short films and makeup—can really give people a sense of the work that’s being honored. It’s cute to have the presenter tell us that a short film director likes a particular snack, but walking away with no idea what any of a lot of the honored work even looks like seems like a failure.\u003c/p>\n\u003cp>\u003cstrong>5. Lots of firsts and nearly-firsts, but progress is so very slow. \u003c/strong>Chloé Zhao became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/988816124/chloe-zhao-is-the-first-woman-of-color-to-win-oscar-for-best-director\" target=\"_blank\" rel=\"noopener noreferrer\">first woman of color\u003c/a>, and only the second woman, to win best director, for \u003cem>Nomadland\u003c/em>. The delightful Yuh-jung Youn, who flirted with Brad Pitt while accepting her award for \u003cem>Minari\u003c/em>, was the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/989638064/youn-yuh-jung-is-first-korean-to-win-oscar-for-best-supporting-actress\" target=\"_blank\" rel=\"noopener noreferrer\">first Korean and the second Asian\u003c/a> to win as best supporting actress. And Mia Neal and Jamika Wilson, who worked on \u003cem>Ma Rainey’s Black Bottom\u003c/em>, became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/990364577/ma-rainey-hairstylists-are-1st-black-women-to-win-makeup-hairstyling-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">first Black women\u003c/a> to win in the category of makeup and hairstyling. But to celebrate because an entire second woman won best director? It’s a difficult ask. These things take time. A lot of time.\u003c/p>\n\u003cp>\u003cstrong>6. The big trailers are dropping.\u003c/strong> As this Oscars season ends, the next one is already ramping up. Trailers for \u003cem>In The Heights\u003c/em> and Steven Spielberg’s production of \u003cem>West Side Story \u003c/em>had prominent placement during the telecast. Both are expected to get awards attention in the next cycle. Hollywood may have spent this year figuring out how to do without theaters, but it’s eager to get audiences back into them as soon as possible.\u003c/p>\n\u003cp>\u003cstrong>7. Nobody ever really solved the COVID problem with awards shows. \u003c/strong>All the awards shows were a little different this season. In some ways, the Grammys had it easiest because, as a show centered on musical performances, they were able to capitalize on the quick progress people have made in learning to record musical performances that work perfectly well on television, even without a typical awards-auditorium setting. But for a show like the Oscars, which is so reliant on a sort of oscillation between earnestness and silliness—both of which benefit from the presence of a crowd—it’s very hard to solve the fundamental problem, which is that when a lot of people can’t easily party together, there’s nothing else that really substitutes for a lot of people partying together. The Emmys solved this with little sub-parties for different shows, and the Globes had various remotes from different people’s homes and laptops. But as in life, nothing else is like raucous company. This telecast figured out how to find some of the earnestness, some of the meaning. It didn’t find the exhilaration. The closest it came was a fairly labored bit in which Glenn Close improbably wound up saluting the legendary go-go number “Da Butt.” And doing the dance. (Yes, really.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But, as Frances McDormand would say, look: Nothing else is like raucous company. See you next year.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=7+Takeaways+From+The+Train-Station+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>1. Sometimes, there’s a reason things are done the way they are. \u003c/strong>Traditionally, Oscar night has ended with the announcement of the winner for best picture. This year, as the producers—including experienced risk-taker Steven Soderbergh—tried to mix it up a little in their train-station ceremony, they decided to change the order. They presented best picture to \u003cem>Nomadland\u003c/em>, then best actress to Frances McDormand, then best actor to Anthony Hopkins for \u003cem>The Father\u003c/em>. Hopkins wasn’t there, so presenter Joaquin Phoenix said the Academy accepted the award on his behalf, and because there was no host, that was pretty much it. Goodnight, everybody!\u003c/p>\n\u003cp>There were those who believed that this happened because there was a cynical calculation that the late Chadwick Boseman would win for \u003cem>Ma Rainey’s Black Bottom\u003c/em>, and that a speech—perhaps from his wife, Taylor Simone Ledward—would be a particularly emotional closing note for such a difficult and unusual year. If true, it was a highly cynical calculation, and if not, it showed a lack of foresight not to realize it might appear to be one. And whatever the intent, the result was that, instead of ending with a celebration on stage, as has happened with films like \u003cem>Moonlight \u003c/em>and \u003cem>Parasite \u003c/em>and other worthy winners, the entire three-plus-hour show ended with an award given to someone who wasn’t even there.\u003c/p>\n\u003cp>Experimentation? Sure. Innovation? Of course. Breaking the structure without thinking through how it might come off? That’s a dangerous approach.\u003c/p>\n\u003cp>\u003cstrong>2. Relaxed speeches are… well, they’re more relaxed. \u003c/strong>Without a live orchestra to play people off, some speeches stretched out in a way that, early on, seemed like it might mean the show would go on all night. Some were a bit meandering; some a bit undisciplined. But they were charming, too. And in some cases, that extra space allowed deeply emotional thoughts to be shared without fear of suddenly being interrupted, as when Thomas Vinterberg accepted the best international feature award for \u003cem>Another Round \u003c/em>and spoke movingly of the loss of his daughter in a car accident during production. It’s not just that Vinterberg got to speak, but that he got to speak without pressure and without the sense of a ticking clock. Whatever future Oscars ceremonies look like, it would be lovely to rethink the “speed through the list of names before you get cut off and don’t forget anyone important or powerful” format they often have.\u003c/p>\n\u003cp>\u003cstrong>3. Don’t be careless with In Memoriam. \u003c/strong>The In Memoriam segment is a production challenge: The audience tries to clap for certain people, the music has to feel appropriate, the visuals have to give at least a respectful amount of context for who each person was. Not so in 2021. Certainly, it was a year with a larger-than-average number of deaths, particularly among older people. But the answer to that would have been a longer segment. What they did instead was to cram the list into a segment that didn’t allow a lot of names to appear as much more than a flash on the screen—not even enough time for their names to be read. The math of dividing up a song, or parts of a song, to sync with a set of slides is not the art of it. That’s the beginning of it. The art of it is being careful not to accidentally disrespect the people you’re trying to honor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>4. Play the clips. \u003c/strong>The producers discarded the feeling that the Oscars telecast often has that it’s a big, goofy, splashy, intermittently musical party. Instead, they staged a sort of a staid banquet like you might see at the end of a long fundraising campaign for a fancy museum, where everyone thanked everyone else for their hard work. So, instead of seeing clips of the particularly strong best actress field, we saw presenter (and last year’s winner) Renee Zellweger personally say how much she liked each of the performances. That kind of direct address can have its place, but clips—particularly in categories like short films and makeup—can really give people a sense of the work that’s being honored. It’s cute to have the presenter tell us that a short film director likes a particular snack, but walking away with no idea what any of a lot of the honored work even looks like seems like a failure.\u003c/p>\n\u003cp>\u003cstrong>5. Lots of firsts and nearly-firsts, but progress is so very slow. \u003c/strong>Chloé Zhao became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/988816124/chloe-zhao-is-the-first-woman-of-color-to-win-oscar-for-best-director\" target=\"_blank\" rel=\"noopener noreferrer\">first woman of color\u003c/a>, and only the second woman, to win best director, for \u003cem>Nomadland\u003c/em>. The delightful Yuh-jung Youn, who flirted with Brad Pitt while accepting her award for \u003cem>Minari\u003c/em>, was the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/989638064/youn-yuh-jung-is-first-korean-to-win-oscar-for-best-supporting-actress\" target=\"_blank\" rel=\"noopener noreferrer\">first Korean and the second Asian\u003c/a> to win as best supporting actress. And Mia Neal and Jamika Wilson, who worked on \u003cem>Ma Rainey’s Black Bottom\u003c/em>, became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/990364577/ma-rainey-hairstylists-are-1st-black-women-to-win-makeup-hairstyling-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">first Black women\u003c/a> to win in the category of makeup and hairstyling. But to celebrate because an entire second woman won best director? It’s a difficult ask. These things take time. A lot of time.\u003c/p>\n\u003cp>\u003cstrong>6. The big trailers are dropping.\u003c/strong> As this Oscars season ends, the next one is already ramping up. Trailers for \u003cem>In The Heights\u003c/em> and Steven Spielberg’s production of \u003cem>West Side Story \u003c/em>had prominent placement during the telecast. Both are expected to get awards attention in the next cycle. Hollywood may have spent this year figuring out how to do without theaters, but it’s eager to get audiences back into them as soon as possible.\u003c/p>\n\u003cp>\u003cstrong>7. Nobody ever really solved the COVID problem with awards shows. \u003c/strong>All the awards shows were a little different this season. In some ways, the Grammys had it easiest because, as a show centered on musical performances, they were able to capitalize on the quick progress people have made in learning to record musical performances that work perfectly well on television, even without a typical awards-auditorium setting. But for a show like the Oscars, which is so reliant on a sort of oscillation between earnestness and silliness—both of which benefit from the presence of a crowd—it’s very hard to solve the fundamental problem, which is that when a lot of people can’t easily party together, there’s nothing else that really substitutes for a lot of people partying together. The Emmys solved this with little sub-parties for different shows, and the Globes had various remotes from different people’s homes and laptops. But as in life, nothing else is like raucous company. This telecast figured out how to find some of the earnestness, some of the meaning. It didn’t find the exhilaration. The closest it came was a fairly labored bit in which Glenn Close improbably wound up saluting the legendary go-go number “Da Butt.” And doing the dance. (Yes, really.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, as Frances McDormand would say, look: Nothing else is like raucous company. See you next year.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=7+Takeaways+From+The+Train-Station+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Provocative Experimental Films by Indigenous Artists",
"headTitle": "Now Playing! Provocative Experimental Films by Indigenous Artists | KQED",
"content": "\u003cp>The second of SF Cinematheque’s four free programs of experimental short films by—and curated by—Indigenous artists, “\u003ca href=\"https://www.sfcinematheque.org/video-programs/cousins-and-kin-what-was-always-yours-and-never-lost/\" rel=\"noopener noreferrer\" target=\"_blank\">what was always yours and never lost\u003c/a>” is accessible, provocative and refreshingly non-dogmatic. Sky Hopinka’s selections engage rather than assault the viewer, and in so doing expand our horizons and shift our perspectives.\u003c/p>\n\u003cp>\u003ca href=\"https://carolinemonnet.ca/\" rel=\"noopener noreferrer\" target=\"_blank\">Caroline Monnet\u003c/a> (Anishinaabe/French) is represented by three films, with \u003cem>Creature Dada\u003c/em> (2016) leading off the program with a circle of confident Native women savoring seafood and champagne. By the time the Canadian filmmaker’s \u003cem>Cephyrophobia\u003c/em> (2016) arrives, with its monochrome studies of bridges, we don’t see it as a collection of picturesque still lifes but as evidence of white intrusion on the natural terrain.\u003c/p>\n\u003cfigure id=\"attachment_13896216\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13896216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Thirza Cuthand’s ‘Less Lethal Fetishes,’ 2019. \u003ccite>(Courtesy SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In between, Toronto filmmaker \u003ca href=\"https://www.thirzacuthand.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Thirza Cuthand\u003c/a> (Cree) regales us with both the sexual potential of gas masks and the confusing moral responsibility of a Whitney Biennial invitation in the oddly endearing \u003cem>Less Lethal Fetishes\u003c/em> (2019). Cuthand also puts herself front and center as the guest speaker at an Indigenous revolutionary meeting who delivers an outlandish (and eminently entertaining) reminiscence of a brief affair with a version of Queen Elizabeth II in \u003cem>Just Dandy\u003c/em> (2013).\u003c/p>\n\u003cp>Indigenous artists collective New Red Order (Adam Khalil, Zack Khalil and Jackson Polys) takes on embedded power by skillfully revealing our complicity in the fetishizing and minimizing of historical figures in statues and busts in \u003cem>Culture Capture: Terminal Addition\u003c/em> (2018), a witty and valuable film made in Syracuse, New York.\u003c/p>\n\u003cfigure id=\"attachment_13896217\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/2.-USE-Itzcoatl0.png\" alt=\"\" width=\"1440\" height=\"900\" class=\"size-full wp-image-13896217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0.png 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0-768x480.png 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Still from Colectivo Los Ingràvidos’ ‘Itzcóatl,’ 2016. \u003ccite>(Courtesy SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/zonaingravida/\" rel=\"noopener noreferrer\" target=\"_blank\">Colectivo Los Ingràvidos\u003c/a> (Tehuacán) reclaims the pyramids in defense of the Aztec empire in the high-energy, split-screen \u003cem>Itzcóatl\u003c/em> (2016). The symbolism in this beautiful film may be slightly obscure for American viewers, but no one will miss the meaning of the Mexican collective’s other contribution to the lineup, \u003cem>Impresiones para una máquina de luz y sonido\u003c/em> (2014). Against the tattered, black-and-white backdrop of an old celluloid melodrama, a woman delivers a vibrant speech—part eulogy, part poem, part shriek of anger—cataloguing the murders of Mexican civilians (primarily women) and the government’s indifference. If, for some reason, you only have time for one film, \u003cem>Impresiones para una máquina de luz y sonido\u003c/em> is the heart-wrenching standout of the program (even if it is a rebuttal of sorts of the title, “what was always yours and never lost”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cheer yourself up, slightly, with the wry curtain-dropper \u003cem>The History of the Luiseño People\u003c/em> (1993). The film showcases the late Native American performance artist James Luna home alone in the dark on Christmas Eve with a 12-pack, ciggies, sunglasses and, crucially, a phone. He reaches out to family and ex-lovers, giving a little but keeping his distance. Connection, however, proves more powerful than isolation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Cousins and Kin: what was always yours and never lost’ streams online at SF Cinematheque through May 15. \u003ca href=\"https://www.sfcinematheque.org\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The second of SF Cinematheque’s four free programs of experimental short films by—and curated by—Indigenous artists, “\u003ca href=\"https://www.sfcinematheque.org/video-programs/cousins-and-kin-what-was-always-yours-and-never-lost/\" rel=\"noopener noreferrer\" target=\"_blank\">what was always yours and never lost\u003c/a>” is accessible, provocative and refreshingly non-dogmatic. Sky Hopinka’s selections engage rather than assault the viewer, and in so doing expand our horizons and shift our perspectives.\u003c/p>\n\u003cp>\u003ca href=\"https://carolinemonnet.ca/\" rel=\"noopener noreferrer\" target=\"_blank\">Caroline Monnet\u003c/a> (Anishinaabe/French) is represented by three films, with \u003cem>Creature Dada\u003c/em> (2016) leading off the program with a circle of confident Native women savoring seafood and champagne. By the time the Canadian filmmaker’s \u003cem>Cephyrophobia\u003c/em> (2016) arrives, with its monochrome studies of bridges, we don’t see it as a collection of picturesque still lifes but as evidence of white intrusion on the natural terrain.\u003c/p>\n\u003cfigure id=\"attachment_13896216\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13896216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Thirza Cuthand’s ‘Less Lethal Fetishes,’ 2019. \u003ccite>(Courtesy SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In between, Toronto filmmaker \u003ca href=\"https://www.thirzacuthand.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Thirza Cuthand\u003c/a> (Cree) regales us with both the sexual potential of gas masks and the confusing moral responsibility of a Whitney Biennial invitation in the oddly endearing \u003cem>Less Lethal Fetishes\u003c/em> (2019). Cuthand also puts herself front and center as the guest speaker at an Indigenous revolutionary meeting who delivers an outlandish (and eminently entertaining) reminiscence of a brief affair with a version of Queen Elizabeth II in \u003cem>Just Dandy\u003c/em> (2013).\u003c/p>\n\u003cp>Indigenous artists collective New Red Order (Adam Khalil, Zack Khalil and Jackson Polys) takes on embedded power by skillfully revealing our complicity in the fetishizing and minimizing of historical figures in statues and busts in \u003cem>Culture Capture: Terminal Addition\u003c/em> (2018), a witty and valuable film made in Syracuse, New York.\u003c/p>\n\u003cfigure id=\"attachment_13896217\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/2.-USE-Itzcoatl0.png\" alt=\"\" width=\"1440\" height=\"900\" class=\"size-full wp-image-13896217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0.png 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0-768x480.png 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Still from Colectivo Los Ingràvidos’ ‘Itzcóatl,’ 2016. \u003ccite>(Courtesy SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/zonaingravida/\" rel=\"noopener noreferrer\" target=\"_blank\">Colectivo Los Ingràvidos\u003c/a> (Tehuacán) reclaims the pyramids in defense of the Aztec empire in the high-energy, split-screen \u003cem>Itzcóatl\u003c/em> (2016). The symbolism in this beautiful film may be slightly obscure for American viewers, but no one will miss the meaning of the Mexican collective’s other contribution to the lineup, \u003cem>Impresiones para una máquina de luz y sonido\u003c/em> (2014). Against the tattered, black-and-white backdrop of an old celluloid melodrama, a woman delivers a vibrant speech—part eulogy, part poem, part shriek of anger—cataloguing the murders of Mexican civilians (primarily women) and the government’s indifference. If, for some reason, you only have time for one film, \u003cem>Impresiones para una máquina de luz y sonido\u003c/em> is the heart-wrenching standout of the program (even if it is a rebuttal of sorts of the title, “what was always yours and never lost”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cheer yourself up, slightly, with the wry curtain-dropper \u003cem>The History of the Luiseño People\u003c/em> (1993). The film showcases the late Native American performance artist James Luna home alone in the dark on Christmas Eve with a 12-pack, ciggies, sunglasses and, crucially, a phone. He reaches out to family and ex-lovers, giving a little but keeping his distance. Connection, however, proves more powerful than isolation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Cousins and Kin: what was always yours and never lost’ streams online at SF Cinematheque through May 15. \u003ca href=\"https://www.sfcinematheque.org\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Keep Earth Day Going With Livable Planet Film Fest",
"headTitle": "Now Playing! Keep Earth Day Going With Livable Planet Film Fest | KQED",
"content": "\u003cp>The mini-moguls of SF IndieFest have added another winner to their array of satellite festivals (DocFest, Another Hole in the Head, SF Short Film Festival, Decibels). Wading into the wide-open spaces left by the fondly remembered and sadly departed San Francisco Green Film Festival, tireless programmers Jeff Ross and Chris Metzler launch the \u003ca href=\"https://livableplanet2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Livable Planet Film Festival\u003c/a> today with an ambitious program of 20 features and several dozen shorts inspired by land, water, fire and air, and people whose lives are uniquely connected to the elements. \u003c/p>\n\u003cp>The opening night selection, \u003cem>Landfall\u003c/em>, reaches out to us from post-Maria Puerto Rico a year after its Tribeca Film Festival premiere, and garlanded with awards from its pandemic-year tour of the fest circuit. Talented director Cecilia Aldarondo takes us on an impressionistic tour of the Caribbean island, skipping around to eavesdrop on intimate conversations—primarily with Gen Y and Zers—about the future of the beautiful yet economically troubled U.S. territory.\u003c/p>\n\u003cfigure id=\"attachment_13896209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13896209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cecilia Aldarondo’s ‘Landfall.’ \u003ccite>(Pablo Alvarez Mesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Landfall\u003c/em>, like a great many documentaries, is necessitated by the abdication of crisis-happy, short-attention-span network and cable news. The film’s framing is miles from mainstream news’ rote cheerleading of capitalism: As one young Vieques woman puts it, “Hurricane Maria was like a big mop or broom with bleach. It swept everything away. And we were finally able to see how screwed we were!”\u003c/p>\n\u003cp>The screwing is partly political and entirely economic. Aldarondo blends chunks of 1950s and ’60s travel and industrial films with verité scenes of contemporary opportunists—hipster cryptocurrency profiteers, notably—to place debt-squeezed Puerto Rico’s recent cost-cutting measures in a long history of colonial exploitation rather than a unique case of disaster capitalism.\u003c/p>\n\u003cp>\u003cem>Landfall\u003c/em> (which was co-produced by Oakland’s Ines Hofmann Kanna) will air later this year on PBS’ \u003cem>POV\u003c/em> series. It’s especially relevant now as the infrastructure debate heats up in the continental U.S., and the opposition argues that spending that helps everyday people (as opposed to millionaires) is a wasteful use of the U.S. Treasury.\u003c/p>\n\u003cfigure id=\"attachment_13896202\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload.jpg\" alt=\"\" width=\"960\" height=\"544\" class=\"size-full wp-image-13896202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-768x435.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Leboucher in Martin Benoist’s ‘The Crab Season.’ \u003ccite>(Courtesy SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christopher Leboucher, the visually impaired French protagonist of Martin Benoist’s \u003cem>The Crab Season\u003c/em>, has no agenda beyond his daily low-tide outing in the Normandy waters he’s fished since he was a small boy. “Fished” is a broad term, for Leboucher’s forte is using his bare hands to find crabs and lobsters ensconced in the seaweed-covered rock formations. “It’s like a palace with lots of hallways and amazing places,” he effuses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Made for French television, this sublime 52-minute piece is arguably, and pleasurably, more of a landscape portrait than a character study. Filmed off the coast of Étretat, \u003cem>The Crab Season\u003c/em> is a crisp visual treat that provides an additional tactile experience when Benoist’s camera follows Leboucher’s hands underwater.\u003c/p>\n\u003cp>The intrepid fisherman offers occasional bits of philosophy in the midst of his earnestly pragmatic endeavors that give \u003cem>The Crab Season\u003c/em> a slight whiff of profundity. In a welcome counterpoint that may or may not be intentional, the sequences of a fully submerged Leboucher thrusting a flailing, boot-clad foot above the surface evoke the comic balletics of Jacques Tati.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Livable Planet Film Festival streams online April 22-May 2. \u003ca href=\"https://livableplanet2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The mini-moguls of SF IndieFest have added another winner to their array of satellite festivals (DocFest, Another Hole in the Head, SF Short Film Festival, Decibels). Wading into the wide-open spaces left by the fondly remembered and sadly departed San Francisco Green Film Festival, tireless programmers Jeff Ross and Chris Metzler launch the \u003ca href=\"https://livableplanet2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Livable Planet Film Festival\u003c/a> today with an ambitious program of 20 features and several dozen shorts inspired by land, water, fire and air, and people whose lives are uniquely connected to the elements. \u003c/p>\n\u003cp>The opening night selection, \u003cem>Landfall\u003c/em>, reaches out to us from post-Maria Puerto Rico a year after its Tribeca Film Festival premiere, and garlanded with awards from its pandemic-year tour of the fest circuit. Talented director Cecilia Aldarondo takes us on an impressionistic tour of the Caribbean island, skipping around to eavesdrop on intimate conversations—primarily with Gen Y and Zers—about the future of the beautiful yet economically troubled U.S. territory.\u003c/p>\n\u003cfigure id=\"attachment_13896209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13896209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cecilia Aldarondo’s ‘Landfall.’ \u003ccite>(Pablo Alvarez Mesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Landfall\u003c/em>, like a great many documentaries, is necessitated by the abdication of crisis-happy, short-attention-span network and cable news. The film’s framing is miles from mainstream news’ rote cheerleading of capitalism: As one young Vieques woman puts it, “Hurricane Maria was like a big mop or broom with bleach. It swept everything away. And we were finally able to see how screwed we were!”\u003c/p>\n\u003cp>The screwing is partly political and entirely economic. Aldarondo blends chunks of 1950s and ’60s travel and industrial films with verité scenes of contemporary opportunists—hipster cryptocurrency profiteers, notably—to place debt-squeezed Puerto Rico’s recent cost-cutting measures in a long history of colonial exploitation rather than a unique case of disaster capitalism.\u003c/p>\n\u003cp>\u003cem>Landfall\u003c/em> (which was co-produced by Oakland’s Ines Hofmann Kanna) will air later this year on PBS’ \u003cem>POV\u003c/em> series. It’s especially relevant now as the infrastructure debate heats up in the continental U.S., and the opposition argues that spending that helps everyday people (as opposed to millionaires) is a wasteful use of the U.S. Treasury.\u003c/p>\n\u003cfigure id=\"attachment_13896202\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload.jpg\" alt=\"\" width=\"960\" height=\"544\" class=\"size-full wp-image-13896202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-768x435.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Leboucher in Martin Benoist’s ‘The Crab Season.’ \u003ccite>(Courtesy SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christopher Leboucher, the visually impaired French protagonist of Martin Benoist’s \u003cem>The Crab Season\u003c/em>, has no agenda beyond his daily low-tide outing in the Normandy waters he’s fished since he was a small boy. “Fished” is a broad term, for Leboucher’s forte is using his bare hands to find crabs and lobsters ensconced in the seaweed-covered rock formations. “It’s like a palace with lots of hallways and amazing places,” he effuses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Made for French television, this sublime 52-minute piece is arguably, and pleasurably, more of a landscape portrait than a character study. Filmed off the coast of Étretat, \u003cem>The Crab Season\u003c/em> is a crisp visual treat that provides an additional tactile experience when Benoist’s camera follows Leboucher’s hands underwater.\u003c/p>\n\u003cp>The intrepid fisherman offers occasional bits of philosophy in the midst of his earnestly pragmatic endeavors that give \u003cem>The Crab Season\u003c/em> a slight whiff of profundity. In a welcome counterpoint that may or may not be intentional, the sequences of a fully submerged Leboucher thrusting a flailing, boot-clad foot above the surface evoke the comic balletics of Jacques Tati.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Livable Planet Film Festival streams online April 22-May 2. \u003ca href=\"https://livableplanet2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More",
"headTitle": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More | KQED",
"content": "\u003cp>On Thursday, Earth Day, President Biden is holding a global summit on climate—aiming for the U.S. to cut greenhouse gasses to half of their 2005 levels by the end of the 2020s.\u003c/p>\n\u003cp>Meanwhile at NPR, we want to share some ways we have connected with our Mother Earth via the arts. So, here are some of our favorite Earth-related media—from books to movies to songs—ones that might just give you something to think about and celebrate this Earth Day. (After you go for a walk or plant some flowers in your garden.)\u003c/p>\n\u003cp>\u003cstrong>Richard Powers’ \u003cem>Overstory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Trees are older, wiser, and more diverse than humans. The presence of a majestic tree can provide emotional continuity for generations of one family. They beckon young climbers. They even communicate with each other. In Powers’ Pulitzer Prize-winning novel, a handful of different characters, from across time and geography, illuminate the ways in which we both cherish and destroy these towering giants. The stories eventually entwine in ways that might give “\u003ca href=\"https://www.npr.org/2018/04/19/602903697/novelist-richard-powers-finds-new-stories-deep-in-old-growth-forests\" target=\"_blank\" rel=\"noopener noreferrer\">the tree-blind\u003c/a>,” as Powers puts it, a newfound appreciation for the tribes we call forests. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Overstory-Novel-Richard-Powers/dp/039335668X/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Silent Running \u003c/em>(1972)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p69lEMn0I8k\u003c/p>\n\u003cp>Douglas Trumbull’s postapocalyptic thriller, created just two years after the first Earth Day in 1970, starts in the not-too-distant future with Earth’s last surviving plant life preserved in space pods—giant geodesic domes attached to massive space freighters—for eventual return to use to reforest the planet. Bruce Dern is one of the caretakers when the cargo company decides it wants its freighters back, and starts jettisoning the pods. Aided by three droids—Huey, Dewey and Louie—Dern engages in some creative sabotage to foil their attempts and save the last vestiges of Earth’s ecosystem. (\u003ca href=\"https://www.amazon.com/Silent-Running-Douglas-Trumbull/dp/B002RPK1P0\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Amazon Prime Video). \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Mercy, Mercy Me (The Ecology)”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H9ePdk29rVI\u003c/p>\n\u003cp>What I love about this song—and the entire \u003cem>What’s Going On\u003c/em> album—is how it tackles a serious issue without a hint of preachiness or condescension. (*cough* Common *cough*) It emanates palpable concern and weariness for the state of the environment and is a musical poem with no real chorus, only the repeated, deeply relatable sigh of “mercy, mercy me” in between laments about “overcrowded land” and its “abuse from man.” The gift and curse of this song is that it’s even more relevant today than it was 50 years ago. (\u003ca href=\"https://www.youtube.com/watch?v=H9ePdk29rVI\" target=\"_blank\" rel=\"noopener noreferrer\">Listen\u003c/a> on YouTube.) —\u003cem> Aisha Harris, co-host Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>WALL-E\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9pyBKj5-jVk\u003c/p>\n\u003cp>Apparently, humans never changed course on pollution, and sometime in the 22nd century they were forced to leave a planet they had turned into a giant garbage dump. But they left without turning off a trash-compactor-on-treads robot they’d left behind—a Waste Allocation Load-Lifter: Earth Class, or WALL-E—who has, over the course of 700 years, developed a personality. Pixar’s digitizers made the first hour at once a bleak vision of our future, and an enchanting Chaplinesque love story as WALL-E falls for EVE—an Extra-terrestrial Vegetation Evaluator. (\u003ca href=\"https://www.preview.disneyplus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Disney+.) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Life in Color with David Attenborough\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WYj-7IrjC4c\u003c/p>\n\u003cp>Everyone’s favorite rumpled British naturalist is back, in a two-part docuseries about the way animals use color to warn off and/or hide from predators and find mates. Attenborough’s trademark warm, inquisitive voice has grown a bit thinner with age, but it’s still supple enough to convey his wonder at, and delight in, the natural world. And what a world this series captures, bursting with dazzling, shifting colors, courtesy of new camera technology that can approximate those aspects of the color spectrum normally invisible to us. A third episode offers a behind-the-scenes peek at how the documentary crew managed to capture some of the series’ most striking images. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix.\u003c/a>) \u003cem>— Glen Weldon, co-host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Learning, Recycling, and Becoming Little Heroes\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Author and activist Gale Glover was researching the Flint water crisis when she became inspired by how the city’s children have coped and changed with the environmental challenges that now define their hometown. You can hear Glover, who herself grew up in Flint, discussing the resilience of those kids in her thoughtful and uplifting 2016 children’s book, \u003cem>Learning, Recycling, and Becoming Little Heroes \u003c/em>\u003ca href=\"https://www.michiganradio.org/post/childrens-book-pays-tribute-unsung-heroes-flint-water-crisis-kids\" target=\"_blank\" rel=\"noopener noreferrer\">in this interview\u003c/a> on the Michigan Radio program Stateside. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Learning-Recycling-Becoming-Little-Heroes/dp/1533581118\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>An Inconvenient Truth\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OAK8Cd4t0WA\u003c/p>\n\u003cp>Yeah, yeah, I know. You think it’ll be like watching paint dry to hear Al Gore talking about global warming. Well, the film turns out to be pretty amazing, and \u003cem>very\u003c/em> smartly done, with computer graphics that make the story he’s telling far scarier and more immediate than the Hollywoodized one in, say, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0319262/\" target=\"_blank\" rel=\"noopener noreferrer\">The Day After Tomorrow\u003c/a>\u003c/em>. I remember at the premiere, not a soul got up during the credits because they were riveted, believe it or not, by an environmental “to do” list. (Watch it on \u003ca href=\"https://www.amazon.com/gp/product/B00AB0SHRW?tag=deciderrg-20\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime Video\u003c/a> or \u003ca href=\"https://www.paramountplus.com/intl/\" target=\"_blank\" rel=\"noopener noreferrer\">Paramount+\u003c/a>. ) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Artists Christo and Jeanne-Claude\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vCzaxunme7I\u003c/p>\n\u003cp>You might not think of the artists Christo and Jeanne-Claude as ardent environmentalists, but the two cared passionately about how their famous works of art interacted with nature. As I wrote \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4283898\" target=\"_blank\" rel=\"noopener noreferrer\">in this 2015 review\u003c/a> of \u003cem>5 Films About Christo and Jeanne-Claude\u003c/em> for NPR, they “enveloped the Pont Neuf in Paris within acres of shimmering fabric, curtained a Colorado valley, dotted the coastal landscapes of California and Japan with brightly colored umbrellas, circled 11 Biscayne Bay islands with electric-pink sheeting and ran an enormous white nylon fence through 24 miles of ranch land in the U.S. West.” In a series of documentaries now viewable on the \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, filmmakers Albert and David Maysles “draw viewers into the artist duo’s world of stunning vision, bullheaded stubbornness, flower-child flights of fancy and mind-bending logistics.” (Find the documentaries \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) \u003cem>— Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Octopus Teacher\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3s0LTDhqe5A\u003c/p>\n\u003cp>A documentary filmmaker goes deep inside an underwater kelp forest where he encounters—and then makes friends with—a mysterious sea creature. It sounds like something a Disney animator may have dreamed up, but it’s actually an apt description for Craig Foster’s Oscar-nominated Netflix film. Come along as Foster freedives into the chilly waters off South Africa. \u003cem>My Octopus Teacher\u003c/em> is a true reminder of the value of slowing down and immersing yourself (literally) in the natural world. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>). \u003cem>— Bridget Bentz, producer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forty Signs of Rain\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The breathtakingly plausible and gripping first novel of Kim Stanley Robinson’s hard-science-fiction “Science in the Capital” trilogy chronicles the cascading effects of global warming after a trigger event—a huge storm off the coast of California. Waters rise (the Lincoln Memorial in Washington, D.C. is soon up to Lincoln’s neck in a flood) and the world belatedly takes action. This sets up two terrific subsequent novels \u003cem>Fifty Degrees Below\u003c/em>, and \u003cem>Sixty Days and Counting\u003c/em>, which collectively earned Robinson the moniker “Master of Disaster.” No idea why Hollywood hasn’t leapt on these. They’re great reads. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Forty-Signs-Science-Capital-Trilogy-ebook/dp/B000FC1PZC/ref=sr_1_1\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+For+A+Way+To+Mark+Earth+Day%3F+Try+These+Movies%2C+Songs%2C+Books+And+More&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Thursday, Earth Day, President Biden is holding a global summit on climate—aiming for the U.S. to cut greenhouse gasses to half of their 2005 levels by the end of the 2020s.\u003c/p>\n\u003cp>Meanwhile at NPR, we want to share some ways we have connected with our Mother Earth via the arts. So, here are some of our favorite Earth-related media—from books to movies to songs—ones that might just give you something to think about and celebrate this Earth Day. (After you go for a walk or plant some flowers in your garden.)\u003c/p>\n\u003cp>\u003cstrong>Richard Powers’ \u003cem>Overstory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Trees are older, wiser, and more diverse than humans. The presence of a majestic tree can provide emotional continuity for generations of one family. They beckon young climbers. They even communicate with each other. In Powers’ Pulitzer Prize-winning novel, a handful of different characters, from across time and geography, illuminate the ways in which we both cherish and destroy these towering giants. The stories eventually entwine in ways that might give “\u003ca href=\"https://www.npr.org/2018/04/19/602903697/novelist-richard-powers-finds-new-stories-deep-in-old-growth-forests\" target=\"_blank\" rel=\"noopener noreferrer\">the tree-blind\u003c/a>,” as Powers puts it, a newfound appreciation for the tribes we call forests. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Overstory-Novel-Richard-Powers/dp/039335668X/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Silent Running \u003c/em>(1972)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p69lEMn0I8k'\n title='//www.youtube.com/embed/p69lEMn0I8k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Douglas Trumbull’s postapocalyptic thriller, created just two years after the first Earth Day in 1970, starts in the not-too-distant future with Earth’s last surviving plant life preserved in space pods—giant geodesic domes attached to massive space freighters—for eventual return to use to reforest the planet. Bruce Dern is one of the caretakers when the cargo company decides it wants its freighters back, and starts jettisoning the pods. Aided by three droids—Huey, Dewey and Louie—Dern engages in some creative sabotage to foil their attempts and save the last vestiges of Earth’s ecosystem. (\u003ca href=\"https://www.amazon.com/Silent-Running-Douglas-Trumbull/dp/B002RPK1P0\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Amazon Prime Video). \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Mercy, Mercy Me (The Ecology)”\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H9ePdk29rVI'\n title='//www.youtube.com/embed/H9ePdk29rVI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What I love about this song—and the entire \u003cem>What’s Going On\u003c/em> album—is how it tackles a serious issue without a hint of preachiness or condescension. (*cough* Common *cough*) It emanates palpable concern and weariness for the state of the environment and is a musical poem with no real chorus, only the repeated, deeply relatable sigh of “mercy, mercy me” in between laments about “overcrowded land” and its “abuse from man.” The gift and curse of this song is that it’s even more relevant today than it was 50 years ago. (\u003ca href=\"https://www.youtube.com/watch?v=H9ePdk29rVI\" target=\"_blank\" rel=\"noopener noreferrer\">Listen\u003c/a> on YouTube.) —\u003cem> Aisha Harris, co-host Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>WALL-E\u003c/em>\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9pyBKj5-jVk'\n title='//www.youtube.com/embed/9pyBKj5-jVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Apparently, humans never changed course on pollution, and sometime in the 22nd century they were forced to leave a planet they had turned into a giant garbage dump. But they left without turning off a trash-compactor-on-treads robot they’d left behind—a Waste Allocation Load-Lifter: Earth Class, or WALL-E—who has, over the course of 700 years, developed a personality. Pixar’s digitizers made the first hour at once a bleak vision of our future, and an enchanting Chaplinesque love story as WALL-E falls for EVE—an Extra-terrestrial Vegetation Evaluator. (\u003ca href=\"https://www.preview.disneyplus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Disney+.) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Life in Color with David Attenborough\u003c/em>\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WYj-7IrjC4c'\n title='//www.youtube.com/embed/WYj-7IrjC4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Everyone’s favorite rumpled British naturalist is back, in a two-part docuseries about the way animals use color to warn off and/or hide from predators and find mates. Attenborough’s trademark warm, inquisitive voice has grown a bit thinner with age, but it’s still supple enough to convey his wonder at, and delight in, the natural world. And what a world this series captures, bursting with dazzling, shifting colors, courtesy of new camera technology that can approximate those aspects of the color spectrum normally invisible to us. A third episode offers a behind-the-scenes peek at how the documentary crew managed to capture some of the series’ most striking images. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix.\u003c/a>) \u003cem>— Glen Weldon, co-host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Learning, Recycling, and Becoming Little Heroes\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Author and activist Gale Glover was researching the Flint water crisis when she became inspired by how the city’s children have coped and changed with the environmental challenges that now define their hometown. You can hear Glover, who herself grew up in Flint, discussing the resilience of those kids in her thoughtful and uplifting 2016 children’s book, \u003cem>Learning, Recycling, and Becoming Little Heroes \u003c/em>\u003ca href=\"https://www.michiganradio.org/post/childrens-book-pays-tribute-unsung-heroes-flint-water-crisis-kids\" target=\"_blank\" rel=\"noopener noreferrer\">in this interview\u003c/a> on the Michigan Radio program Stateside. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Learning-Recycling-Becoming-Little-Heroes/dp/1533581118\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>An Inconvenient Truth\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OAK8Cd4t0WA'\n title='//www.youtube.com/embed/OAK8Cd4t0WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yeah, yeah, I know. You think it’ll be like watching paint dry to hear Al Gore talking about global warming. Well, the film turns out to be pretty amazing, and \u003cem>very\u003c/em> smartly done, with computer graphics that make the story he’s telling far scarier and more immediate than the Hollywoodized one in, say, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0319262/\" target=\"_blank\" rel=\"noopener noreferrer\">The Day After Tomorrow\u003c/a>\u003c/em>. I remember at the premiere, not a soul got up during the credits because they were riveted, believe it or not, by an environmental “to do” list. (Watch it on \u003ca href=\"https://www.amazon.com/gp/product/B00AB0SHRW?tag=deciderrg-20\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime Video\u003c/a> or \u003ca href=\"https://www.paramountplus.com/intl/\" target=\"_blank\" rel=\"noopener noreferrer\">Paramount+\u003c/a>. ) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Artists Christo and Jeanne-Claude\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vCzaxunme7I'\n title='//www.youtube.com/embed/vCzaxunme7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might not think of the artists Christo and Jeanne-Claude as ardent environmentalists, but the two cared passionately about how their famous works of art interacted with nature. As I wrote \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4283898\" target=\"_blank\" rel=\"noopener noreferrer\">in this 2015 review\u003c/a> of \u003cem>5 Films About Christo and Jeanne-Claude\u003c/em> for NPR, they “enveloped the Pont Neuf in Paris within acres of shimmering fabric, curtained a Colorado valley, dotted the coastal landscapes of California and Japan with brightly colored umbrellas, circled 11 Biscayne Bay islands with electric-pink sheeting and ran an enormous white nylon fence through 24 miles of ranch land in the U.S. West.” In a series of documentaries now viewable on the \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, filmmakers Albert and David Maysles “draw viewers into the artist duo’s world of stunning vision, bullheaded stubbornness, flower-child flights of fancy and mind-bending logistics.” (Find the documentaries \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) \u003cem>— Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Octopus Teacher\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3s0LTDhqe5A'\n title='//www.youtube.com/embed/3s0LTDhqe5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A documentary filmmaker goes deep inside an underwater kelp forest where he encounters—and then makes friends with—a mysterious sea creature. It sounds like something a Disney animator may have dreamed up, but it’s actually an apt description for Craig Foster’s Oscar-nominated Netflix film. Come along as Foster freedives into the chilly waters off South Africa. \u003cem>My Octopus Teacher\u003c/em> is a true reminder of the value of slowing down and immersing yourself (literally) in the natural world. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>). \u003cem>— Bridget Bentz, producer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forty Signs of Rain\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The breathtakingly plausible and gripping first novel of Kim Stanley Robinson’s hard-science-fiction “Science in the Capital” trilogy chronicles the cascading effects of global warming after a trigger event—a huge storm off the coast of California. Waters rise (the Lincoln Memorial in Washington, D.C. is soon up to Lincoln’s neck in a flood) and the world belatedly takes action. This sets up two terrific subsequent novels \u003cem>Fifty Degrees Below\u003c/em>, and \u003cem>Sixty Days and Counting\u003c/em>, which collectively earned Robinson the moniker “Master of Disaster.” No idea why Hollywood hasn’t leapt on these. They’re great reads. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Forty-Signs-Science-Capital-Trilogy-ebook/dp/B000FC1PZC/ref=sr_1_1\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+For+A+Way+To+Mark+Earth+Day%3F+Try+These+Movies%2C+Songs%2C+Books+And+More&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 2021 Oscars' Best Original Song Nominees, Cruelly Ranked",
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"content": "\u003cp>It’s been an unusual year for… a lot of things, really, so why should the Oscars be any different? But the category of best original song feels especially anomalous, given the way the pandemic forced the postponement of so many blockbusters: We didn’t get a \u003cem>Frozen\u003c/em>-style animated musical to lock down one of the spots by default (and Christina Aguilera’s \u003ca href=\"https://www.youtube.com/watch?v=G6PZm8vhm6I\" target=\"_blank\" rel=\"noopener noreferrer\">new song\u003c/a> from the live-action \u003cem>Mulan\u003c/em> remake didn’t make the cut), while Billie Eilish’s \u003ca href=\"https://www.youtube.com/watch?v=BboMpayJomw\" target=\"_blank\" rel=\"noopener noreferrer\">James Bond theme\u003c/a> might have been the frontrunner had \u003cem>No Time to Die\u003c/em> actually come out as planned.\u003c/p>\n\u003cp>That’s left more room than usual for somber closing-credits dirges reflecting the themes of dramas about the pursuit of social justice—songs that, over the years, tend to bleed together in our collective memory to form a glum-but-rousing \u003ca href=\"https://www.mentalfloss.com/article/506504/almost-comprehensive-history-rat-kings\">rat king\u003c/a> called “I Will Speak and Raise My Voice to Rise and Stand and Fight.” These songs, following a path blazed by Common and John Legend’s 2014 \u003cem>Selma\u003c/em> anthem “\u003ca href=\"https://www.youtube.com/watch?v=HUZOKvYcx_o\" target=\"_blank\" rel=\"noopener noreferrer\">Glory\u003c/a>,” form a subgenre best described as, well, Glorycore. Speak! Rise! Stand! Fight!\u003c/p>\n\u003cp>Taken collectively, this year’s crop could have used a jolt of joy and energy—a “\u003ca href=\"https://www.youtube.com/watch?v=bOR38552MJA\">Blame Canada\u003c/a>,” if you will. But, given that it’s probably best that we won’t have to watch Sacha Baron Cohen perform “\u003ca href=\"https://www.youtube.com/watch?v=1EuyDMq3mYQ\" target=\"_blank\" rel=\"noopener noreferrer\">Wuhan Flu\u003c/a>” on the Oscars out of context, these are the five songs we’re getting. Here they are, cruelly and objectively ranked in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “Hear My Voice,” \u003c/strong>\u003cstrong>\u003cem>The Trial of the Chicago 7\u003c/em>\u003c/strong>\u003cstrong>, performed by Celeste (Daniel Pemberton and Celeste, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pnY9_DXMBis\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Hear My Voice” has a vibrant vocal from soul singer Celeste, a grand string arrangement and a universally accessible message about, you know, having one’s voice heard. But a song can be \u003cem>too\u003c/em> universal: You could tack “Hear My Voice” onto the closing credits of three dozen different movies from 2020 and make a case that it fits. It’s an afterthought in \u003cem>The Trial of the Chicago 7\u003c/em>, and it’d be an afterthought just about anywhere else.\u003c/p>\n\u003cp>Seriously, what reason does “Hear My Voice” have to exist beyond the pursuit of this award? It’s a nice boost to Celeste’s worthy career, but the song itself might as well be titled “For Your Consideration: Hear My Voice (from \u003cem>The Trial Of The Chicago 7\u003c/em>).”\u003c/p>\n\u003cp>\u003cstrong>4. “Io sì (Seen),” \u003c/strong>\u003cstrong>\u003cem>The Life Ahead\u003c/em>\u003c/strong>\u003cstrong>, performed by Laura Pausini (Diane Warren and Laura Pausini, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=imjSm7FNmwE\u003c/p>\n\u003cp>Diane Warren has been nominated for Best Original Song an astonishing 12 times, including for indelible hits like “Nothing’s Gonna Stop Us Now,” “How Do I Live” and “I Don’t Want to Miss a Thing”—from the Academy Awards staples \u003cem>Mannequin\u003c/em>, \u003cem>Con Air\u003c/em> and \u003cem>Armageddon\u003c/em>, respectively. But she’s never won, and after her 2015 Lady Gaga collaboration “\u003ca href=\"https://www.youtube.com/watch?v=ZmWBrN7QV6Y\" target=\"_blank\" rel=\"noopener noreferrer\">Til It Happens to You\u003c/a>” wrongly lost to Sam Smith’s “\u003ca href=\"https://www.youtube.com/watch?v=8jzDnsjYv9A\" target=\"_blank\" rel=\"noopener noreferrer\">Writing’s on the Wall\u003c/a>,” Warren has settled into a pattern of writing or co-writing a given year’s fourth- or fifth-most-powerful Best Original Song nominee, year in and year out.\u003c/p>\n\u003cp>Though she didn’t write Celeste’s “Hear My Voice,” Warren has become one of the most dedicated and persistent practitioners of Glorycore, contributing “\u003ca href=\"https://www.youtube.com/watch?v=2GhY7qXGx-0\" target=\"_blank\" rel=\"noopener noreferrer\">Stand Up for Something\u003c/a>” (from \u003cem>Marshall\u003c/em>), “\u003ca href=\"https://www.youtube.com/watch?v=ho0aVZHQnNM\" target=\"_blank\" rel=\"noopener noreferrer\">I’ll Fight\u003c/a>” (from \u003cem>RBG\u003c/em>) and “\u003ca href=\"https://www.youtube.com/watch?v=s7CHl9cB-m8\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Standing With You\u003c/a>” (from \u003cem>Breakthrough\u003c/em>) to the catalog of Oscars-approved anthems about loyalty and/or defiance. In “Io sì” (from the Italian drama \u003cem>The Life Ahead\u003c/em>), she at least mellows her approach a bit, writing in Italian about… well, a kind of defiant loyalty. Translated, the words Laura Pausini sings could have been written by an app programmed to get its user nominated for Best Original Song at the Academy Awards: “If you want me, I’m here / Nobody sees you, but I do.”\u003c/p>\n\u003cp>Still, though it’s not a heavy favorite to win, don’t be surprised if Warren finally ends her losing streak Sunday night. As a sentimental choice from a pool with no clear frontrunner, she’s got a significantly better chance than Celeste—or, say, anyone nominated for Best Actor against Chadwick Boseman.\u003c/p>\n\u003cp>\u003cstrong>3. “Speak Now,” \u003c/strong>\u003cstrong>\u003cem>One Night in Miami…\u003c/em>\u003c/strong>\u003cstrong>, performed by Leslie Odom Jr. (Sam Ashworth and Leslie Odom Jr., songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZvnPEMW1jj8\u003c/p>\n\u003cp>On one hand, “Speak Now” doesn’t figure into the plot of \u003cem>One Night in Miami…\u003c/em>, Regina King’s excellent drama about an eventful evening in the lives of Sam Cooke, Malcolm X, Muhammad Ali and Jim Brown. Nor does it stretch the boundaries of Oscar-friendly songs about speaking, standing, rising and/or fighting. But it does tie into one of the central tensions of the film, in which Cooke (as played by Odom) wrestles with his responsibility to perform songs that address the moment and challenge white audiences.\u003c/p>\n\u003cp>The Tony- and Grammy-winning star of \u003cem>Hamilton\u003c/em>, Odom was also nominated for best supporting actor, and he’s deployed extremely well throughout King’s film: In both \u003cem>One Night in Miami…\u003c/em> and “Speak Now,” he’s not imitating Cooke so much as embodying the legend’s essence and letting his own talent make up the difference.\u003c/p>\n\u003cp>\u003cstrong>2. “Fight for You,” \u003c/strong>\u003cstrong>\u003cem>Judas and the Black Messiah\u003c/em>\u003c/strong>\u003cstrong>, performed by H.E.R. (D’Mile, H.E.R. and Tiara Thomas, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nu8TS2Vr6lo\u003c/p>\n\u003cp>So if you’re keeping track, that’s a song about being heard, a song about being seen and \u003cem>another\u003c/em> song about being heard. At least H.E.R. is bringing a fight to the mix, right?\u003c/p>\n\u003cp>Unfortunately, we’re now 4-for-4 with best original song nominees whose placement in their respective movies begins riiiiiiiight as the credits begin to roll. Still, “Fight for You” has a brassy period quality to it that suits the sound and tone of \u003cem>Judas and the Black Messiah\u003c/em>; it feels like an extension of the film’s score and overall messaging. Even better, it raises the stakes from words to actions, complete with a call for revolution befitting the film’s subject matter.\u003c/p>\n\u003cp>If you’re attempting to navigate an Oscar pool, this feels like an unusually tricky category to call—a notion reflected in the \u003ca href=\"https://www.goldderby.com/odds/graph/oscars-2021-predictions/best-song/\" target=\"_blank\" rel=\"noopener noreferrer\">bunched-up Gold Derby standings\u003c/a>. After all, voters could be eager to help Warren break her dry spell, or get Leslie Odom Jr. one letter closer to his inevitable EGOT, or surrender to Netflix’s aggressive attempts to promote \u003cem>The Trial of the Chicago 7\u003c/em> at all costs. But “Fight for You” feels like as likely a bet as any: It’s timeless \u003cem>and\u003c/em> timely \u003cem>and\u003c/em> era-appropriate, in ways that help it transcend mere Glorycore award-grubbing. Plus, \u003ca href=\"https://www.grammy.com/grammys/artists/her/243298\" target=\"_blank\" rel=\"noopener noreferrer\">the Grammys love H.E.R.\u003c/a> Why wouldn’t the Oscars join them?\u003c/p>\n\u003cp>\u003cstrong>1. “Husavik,” \u003c/strong>\u003cstrong>\u003cem>Eurovision Song Contest: The Story of Fire Saga\u003c/em>\u003c/strong>\u003cstrong>, performed by Molly Sandén, Rachel McAdams and Will Ferrell (Rickard Göransson, Fat Max Gsus and Savan Kotecha, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjuphuG3ndw&t=1s\u003c/p>\n\u003cp>\u003cem>Eurovision Song Contest\u003c/em> is hardly what you’d consider Oscar bait: It’s a fun but scattershot send-up of a subject that’s already parodying itself, led by stars (Will Ferrell and Rachel McAdams) whose eternal gameness can’t overcome a laggy pace and iffy joke density. But the film succeeds in a crucial area: It largely gets the songs right, pushing the pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.\u003c/p>\n\u003cp>Lyrically cheesy in a manner befitting its context in the film, the song is built on a soaring melody that ratchets up the orchestral grandeur and provides a strong showcase for both McAdams (in a quiet solo scene) and Swedish singer Molly Sandén, whose tremendous voice viewers hear when McAdams sings onstage. As a best original song nominee, “Husavik” checks all the boxes this category ought to be in the interest of checking: Where all four other nominated songs are tacked onto their films’ closing credits, “Husavik” resides at the center of \u003cem>Eurovision Song Contest\u003c/em>‘s climactic scene. It has to absolutely kill for the film’s finale to work, and it brings the house down.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not saying it \u003cem>will\u003c/em> win, because it probably won’t. But it should.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2021+Oscars%27+Best+Original+Song+Nominees%2C+Cruelly+Ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been an unusual year for… a lot of things, really, so why should the Oscars be any different? But the category of best original song feels especially anomalous, given the way the pandemic forced the postponement of so many blockbusters: We didn’t get a \u003cem>Frozen\u003c/em>-style animated musical to lock down one of the spots by default (and Christina Aguilera’s \u003ca href=\"https://www.youtube.com/watch?v=G6PZm8vhm6I\" target=\"_blank\" rel=\"noopener noreferrer\">new song\u003c/a> from the live-action \u003cem>Mulan\u003c/em> remake didn’t make the cut), while Billie Eilish’s \u003ca href=\"https://www.youtube.com/watch?v=BboMpayJomw\" target=\"_blank\" rel=\"noopener noreferrer\">James Bond theme\u003c/a> might have been the frontrunner had \u003cem>No Time to Die\u003c/em> actually come out as planned.\u003c/p>\n\u003cp>That’s left more room than usual for somber closing-credits dirges reflecting the themes of dramas about the pursuit of social justice—songs that, over the years, tend to bleed together in our collective memory to form a glum-but-rousing \u003ca href=\"https://www.mentalfloss.com/article/506504/almost-comprehensive-history-rat-kings\">rat king\u003c/a> called “I Will Speak and Raise My Voice to Rise and Stand and Fight.” These songs, following a path blazed by Common and John Legend’s 2014 \u003cem>Selma\u003c/em> anthem “\u003ca href=\"https://www.youtube.com/watch?v=HUZOKvYcx_o\" target=\"_blank\" rel=\"noopener noreferrer\">Glory\u003c/a>,” form a subgenre best described as, well, Glorycore. Speak! Rise! Stand! Fight!\u003c/p>\n\u003cp>Taken collectively, this year’s crop could have used a jolt of joy and energy—a “\u003ca href=\"https://www.youtube.com/watch?v=bOR38552MJA\">Blame Canada\u003c/a>,” if you will. But, given that it’s probably best that we won’t have to watch Sacha Baron Cohen perform “\u003ca href=\"https://www.youtube.com/watch?v=1EuyDMq3mYQ\" target=\"_blank\" rel=\"noopener noreferrer\">Wuhan Flu\u003c/a>” on the Oscars out of context, these are the five songs we’re getting. Here they are, cruelly and objectively ranked in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “Hear My Voice,” \u003c/strong>\u003cstrong>\u003cem>The Trial of the Chicago 7\u003c/em>\u003c/strong>\u003cstrong>, performed by Celeste (Daniel Pemberton and Celeste, songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pnY9_DXMBis'\n title='//www.youtube.com/embed/pnY9_DXMBis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Hear My Voice” has a vibrant vocal from soul singer Celeste, a grand string arrangement and a universally accessible message about, you know, having one’s voice heard. But a song can be \u003cem>too\u003c/em> universal: You could tack “Hear My Voice” onto the closing credits of three dozen different movies from 2020 and make a case that it fits. It’s an afterthought in \u003cem>The Trial of the Chicago 7\u003c/em>, and it’d be an afterthought just about anywhere else.\u003c/p>\n\u003cp>Seriously, what reason does “Hear My Voice” have to exist beyond the pursuit of this award? It’s a nice boost to Celeste’s worthy career, but the song itself might as well be titled “For Your Consideration: Hear My Voice (from \u003cem>The Trial Of The Chicago 7\u003c/em>).”\u003c/p>\n\u003cp>\u003cstrong>4. “Io sì (Seen),” \u003c/strong>\u003cstrong>\u003cem>The Life Ahead\u003c/em>\u003c/strong>\u003cstrong>, performed by Laura Pausini (Diane Warren and Laura Pausini, songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/imjSm7FNmwE'\n title='//www.youtube.com/embed/imjSm7FNmwE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Diane Warren has been nominated for Best Original Song an astonishing 12 times, including for indelible hits like “Nothing’s Gonna Stop Us Now,” “How Do I Live” and “I Don’t Want to Miss a Thing”—from the Academy Awards staples \u003cem>Mannequin\u003c/em>, \u003cem>Con Air\u003c/em> and \u003cem>Armageddon\u003c/em>, respectively. But she’s never won, and after her 2015 Lady Gaga collaboration “\u003ca href=\"https://www.youtube.com/watch?v=ZmWBrN7QV6Y\" target=\"_blank\" rel=\"noopener noreferrer\">Til It Happens to You\u003c/a>” wrongly lost to Sam Smith’s “\u003ca href=\"https://www.youtube.com/watch?v=8jzDnsjYv9A\" target=\"_blank\" rel=\"noopener noreferrer\">Writing’s on the Wall\u003c/a>,” Warren has settled into a pattern of writing or co-writing a given year’s fourth- or fifth-most-powerful Best Original Song nominee, year in and year out.\u003c/p>\n\u003cp>Though she didn’t write Celeste’s “Hear My Voice,” Warren has become one of the most dedicated and persistent practitioners of Glorycore, contributing “\u003ca href=\"https://www.youtube.com/watch?v=2GhY7qXGx-0\" target=\"_blank\" rel=\"noopener noreferrer\">Stand Up for Something\u003c/a>” (from \u003cem>Marshall\u003c/em>), “\u003ca href=\"https://www.youtube.com/watch?v=ho0aVZHQnNM\" target=\"_blank\" rel=\"noopener noreferrer\">I’ll Fight\u003c/a>” (from \u003cem>RBG\u003c/em>) and “\u003ca href=\"https://www.youtube.com/watch?v=s7CHl9cB-m8\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Standing With You\u003c/a>” (from \u003cem>Breakthrough\u003c/em>) to the catalog of Oscars-approved anthems about loyalty and/or defiance. In “Io sì” (from the Italian drama \u003cem>The Life Ahead\u003c/em>), she at least mellows her approach a bit, writing in Italian about… well, a kind of defiant loyalty. Translated, the words Laura Pausini sings could have been written by an app programmed to get its user nominated for Best Original Song at the Academy Awards: “If you want me, I’m here / Nobody sees you, but I do.”\u003c/p>\n\u003cp>Still, though it’s not a heavy favorite to win, don’t be surprised if Warren finally ends her losing streak Sunday night. As a sentimental choice from a pool with no clear frontrunner, she’s got a significantly better chance than Celeste—or, say, anyone nominated for Best Actor against Chadwick Boseman.\u003c/p>\n\u003cp>\u003cstrong>3. “Speak Now,” \u003c/strong>\u003cstrong>\u003cem>One Night in Miami…\u003c/em>\u003c/strong>\u003cstrong>, performed by Leslie Odom Jr. (Sam Ashworth and Leslie Odom Jr., songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZvnPEMW1jj8'\n title='//www.youtube.com/embed/ZvnPEMW1jj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On one hand, “Speak Now” doesn’t figure into the plot of \u003cem>One Night in Miami…\u003c/em>, Regina King’s excellent drama about an eventful evening in the lives of Sam Cooke, Malcolm X, Muhammad Ali and Jim Brown. Nor does it stretch the boundaries of Oscar-friendly songs about speaking, standing, rising and/or fighting. But it does tie into one of the central tensions of the film, in which Cooke (as played by Odom) wrestles with his responsibility to perform songs that address the moment and challenge white audiences.\u003c/p>\n\u003cp>The Tony- and Grammy-winning star of \u003cem>Hamilton\u003c/em>, Odom was also nominated for best supporting actor, and he’s deployed extremely well throughout King’s film: In both \u003cem>One Night in Miami…\u003c/em> and “Speak Now,” he’s not imitating Cooke so much as embodying the legend’s essence and letting his own talent make up the difference.\u003c/p>\n\u003cp>\u003cstrong>2. “Fight for You,” \u003c/strong>\u003cstrong>\u003cem>Judas and the Black Messiah\u003c/em>\u003c/strong>\u003cstrong>, performed by H.E.R. (D’Mile, H.E.R. and Tiara Thomas, songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Nu8TS2Vr6lo'\n title='//www.youtube.com/embed/Nu8TS2Vr6lo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So if you’re keeping track, that’s a song about being heard, a song about being seen and \u003cem>another\u003c/em> song about being heard. At least H.E.R. is bringing a fight to the mix, right?\u003c/p>\n\u003cp>Unfortunately, we’re now 4-for-4 with best original song nominees whose placement in their respective movies begins riiiiiiiight as the credits begin to roll. Still, “Fight for You” has a brassy period quality to it that suits the sound and tone of \u003cem>Judas and the Black Messiah\u003c/em>; it feels like an extension of the film’s score and overall messaging. Even better, it raises the stakes from words to actions, complete with a call for revolution befitting the film’s subject matter.\u003c/p>\n\u003cp>If you’re attempting to navigate an Oscar pool, this feels like an unusually tricky category to call—a notion reflected in the \u003ca href=\"https://www.goldderby.com/odds/graph/oscars-2021-predictions/best-song/\" target=\"_blank\" rel=\"noopener noreferrer\">bunched-up Gold Derby standings\u003c/a>. After all, voters could be eager to help Warren break her dry spell, or get Leslie Odom Jr. one letter closer to his inevitable EGOT, or surrender to Netflix’s aggressive attempts to promote \u003cem>The Trial of the Chicago 7\u003c/em> at all costs. But “Fight for You” feels like as likely a bet as any: It’s timeless \u003cem>and\u003c/em> timely \u003cem>and\u003c/em> era-appropriate, in ways that help it transcend mere Glorycore award-grubbing. Plus, \u003ca href=\"https://www.grammy.com/grammys/artists/her/243298\" target=\"_blank\" rel=\"noopener noreferrer\">the Grammys love H.E.R.\u003c/a> Why wouldn’t the Oscars join them?\u003c/p>\n\u003cp>\u003cstrong>1. “Husavik,” \u003c/strong>\u003cstrong>\u003cem>Eurovision Song Contest: The Story of Fire Saga\u003c/em>\u003c/strong>\u003cstrong>, performed by Molly Sandén, Rachel McAdams and Will Ferrell (Rickard Göransson, Fat Max Gsus and Savan Kotecha, songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qjuphuG3ndw'\n title='//www.youtube.com/embed/qjuphuG3ndw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Eurovision Song Contest\u003c/em> is hardly what you’d consider Oscar bait: It’s a fun but scattershot send-up of a subject that’s already parodying itself, led by stars (Will Ferrell and Rachel McAdams) whose eternal gameness can’t overcome a laggy pace and iffy joke density. But the film succeeds in a crucial area: It largely gets the songs right, pushing the pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.\u003c/p>\n\u003cp>Lyrically cheesy in a manner befitting its context in the film, the song is built on a soaring melody that ratchets up the orchestral grandeur and provides a strong showcase for both McAdams (in a quiet solo scene) and Swedish singer Molly Sandén, whose tremendous voice viewers hear when McAdams sings onstage. As a best original song nominee, “Husavik” checks all the boxes this category ought to be in the interest of checking: Where all four other nominated songs are tacked onto their films’ closing credits, “Husavik” resides at the center of \u003cem>Eurovision Song Contest\u003c/em>‘s climactic scene. It has to absolutely kill for the film’s finale to work, and it brings the house down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not saying it \u003cem>will\u003c/em> win, because it probably won’t. But it should.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2021+Oscars%27+Best+Original+Song+Nominees%2C+Cruelly+Ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Neither #OscarsSoWhite Nor #OscarsSoMale—What a Difference a Pandemic Makes",
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"content": "\u003cp>This past year of masks, lockdowns, and capacity restrictions has been the most catastrophic 12 months in the history of movie theaters. It has also been a banner year for diversity at the Oscars.\u003c/p>\n\u003cp>Odd as this might seem, I suspect those two things are related—a matter of industry imperatives meeting cold hard cash. And as salutary as the diversity part is, it’s going to take some work to make it permanent. The Academy of Motion Picture Arts and Sciences, which awards the Oscars, has signaled a willingness to do that work with inclusion standards for Best Picture nominees. They’ll start phasing them in next year.\u003c/p>\n\u003cp>This year, they got lucky.\u003c/p>\n\u003cp>One thing you don’t want, if you’re in charge of the Oscars, is a hashtag—especially something like #OscarsSoWhite—as telecast host Chris Rock acknowledged in 2016, when that one went viral. “It’s the 88th Academy Awards,” he said then to applause, “which means this whole no-black-nominees thing has happened at least 71 other times.”\u003c/p>\n\u003cp>The situation didn’t change much in the next few years. Last year’s Oscars were again among the least diverse in recent memory; only one of 20 acting nominees was non-white.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But this year, nine of the 20—almost half the acting nominees—are non-white.\u003c/p>\n\u003cp>Another telecast, another hashtag: 2018 was the year of #OscarsSoMale, which Frances McDormand riffed on in her Best Actress acceptance speech by asking to have “all the female nominees in every category stand with me in this room tonight.” [aside postid='arts_13892640']\u003c/p>\n\u003cp>Dozens of women stood as the crowd cheered but, again, it didn’t initially have much effect. Last year, just as in 86 of the 91 previous years, not a single woman director was nominated, even though McDormand had closed-out this speech urging her colleagues to insist on women behind the camera by adding a clause to their contracts called an “inclusion rider.”\u003c/p>\n\u003cp>But McDormand took her own advice and this year, what a difference a pandemic makes. She produced as well as starred in \u003cem>Nomadland\u003c/em>, a film based on a book by a woman, featuring the stories of quite a few women, and scripted, edited and directed by Chloe Zhao, who, for the first time in Hollywood history, is a woman competing with a second woman in the directing category.\u003c/p>\n\u003cp>As for the unprecedented number of actors of color among the nominees, it represents a remarkable moment of recognition.\u003c/p>\n\u003cp>There were the nominations for vibrant performances in the true stories of celebrated African-American figures: Daniel Kaluuya and Lakeith Stanfield, each a Best Supporting Actor nominee as, respectively, Black Panther Fred Hampton and the informant who set him up for assassination in \u003cem>Judas and the Black Messiah\u003c/em>; Andra Day as Best Actress for playing blues legend Lady Day in \u003cem>The United States Vs. Billie Holiday\u003c/em>; Leslie Odom Jr. for Supporting Actor as Sam Cooke in \u003cem>One Night in Miami. \u003c/em>[aside postid='arts_13890664']\u003c/p>\n\u003cp>And there were nominations for acting as fictional characters too: A blues singer and her trumpet player in \u003cem>Ma Rainey’s Black Bottom\u003c/em> earned Viola Davis and the late Chadwick Bosemen nods for Best Actress and Actor. Youn Yuh-Jung received a supporting actress nomination as a feisty grandmother in \u003cem>Minari\u003c/em>, the story of Korean immigrants in Arkansas. Riz Ahmed became the first Muslim Best Actor nominee playing a heavy metal drummer who suffers hearing loss in \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>All are eye-opening performances that, taken together, are a clear sign that this is a year of inclusion for the Academy.\u003c/p>\n\u003cp>But not necessarily because Tinseltown has awakened to the virtues of diversity. These are the films that studios decided to open in the middle of a pandemic, a decision that they were well aware would have financial consequences.\u003c/p>\n\u003cp>Films usually get an Oscar bounce from being nominated—a bump in ticket sales that, in a normal year, can amount to many millions of dollars, and also give a film far more reach.\u003c/p>\n\u003cp>Last year’s Best Picture winner, \u003cem>Parasite\u003c/em>, is a case in point. The film was playing in 300 theaters before it was nominated. Following the award, its run in the U.S. expanded to five times as many theaters.\u003c/p>\n\u003cp>But this year, with cinemas mostly closed, and audiences skittish about crowds, that box office bounce doesn’t exist. If you take all eight of the Best Picture nominees, and combine their earnings, the total comes to barely $35 million worldwide. That would be an unimpressive number for just one nominee in a normal year.\u003c/p>\n\u003cp>So to compete for an Oscar in 2020, a filmmaker had to make an almost Faustian bargain: Come out mid-pandemic for awards consideration and lose your shirt, or sell your soul for bigger box office after the pandemic and lose your shot. [aside postid='arts_13893138']\u003c/p>\n\u003cp>Many of the films regarded as Oscar shoo-ins decided to wait. A new version of the musical \u003cem>West Side Story,\u003c/em> for instance, with a script by Pulitzer winner Tony Kushner, directed by Oscar winner Steven Spielberg. Also the star-studded costume epic \u003cem>The Last Duel\u003c/em> from \u003cem>Gladiator \u003c/em>director Ridley Scott. And \u003cem>The French Dispatch\u003c/em>, the latest weirdness from Wes Anderson, director of \u003cem>Grand Budapest Hotel.\u003c/em>\u003c/p>\n\u003cp>These films were all shot, edited, and ready-to-go in plenty of time for Oscar consideration, but their studios opted to wait. And from a financial perspective, it’s easy to see why. Until a couple of weeks ago, New York and Los Angeles—the two markets that make-or-break prestige pictures—were still not allowing theaters to open.\u003c/p>\n\u003cp>Almost as bad, the theaters elsewhere that were open were reducing attendance to as little as 25 per cent of capacity. That scared off even the commercial crowd, from 007, to Marvel superheroes, to the \u003cem>Fast & Furious\u003c/em> crew.\u003c/p>\n\u003cp>If they weren’t willing to brave the crippling economics at cinemas in a pandemic year, why should Oscar hopefuls?\u003c/p>\n\u003cp>So when filmmakers had the clout to say “let’s wait” they did. And who had that clout? The same mostly male, mostly white stars, producers and studio heads who’ve always had it.\u003c/p>\n\u003cp>Who apparently didn’t have that clout? Well, start with the women who made \u003cem>Nomadland\u003c/em> and \u003cem>Promising Young Woman\u003c/em>. Or the Korean-American director of the low-budget indie, \u003cem>Minari.\u003c/em>\u003c/p>\n\u003cp>Or even the well-connected folks behind \u003cem>Judas and the Black Messiah\u003c/em> who are the first all-Black producing team ever nominated for Best Picture. They told \u003cem>The Hollywood Reporter\u003c/em> they’d originally thought their film would perform about as well as \u003cem>Straight Outta Compton\u003c/em>, which earned $200 million worldwide. [aside postid='arts_13895652']\u003c/p>\n\u003cp>The pandemic lowered that estimate, and Warner’s decision to stream all its films the same day they hit theaters lowered it further. Left with no choice but to go along, the producers watched as their film stalled at the box office. Instead of $200 million, \u003cem>Judas and the Black Messiah\u003c/em> has made less than $6 million.\u003c/p>\n\u003cp>It’s not easy to imagine a Steven Spielberg being put in that position.\u003c/p>\n\u003cp>Is this another way of saying Hollywood’s power and privilege still resides mostly with white men? The power to maximize box office; the privilege of making event pictures so expensive they can’t be treated as loss-leaders for streaming services.\u003c/p>\n\u003cp>Well, sure. But while dollars are important, for filmmakers who have traditionally been marginalized, they are not all-important.\u003c/p>\n\u003cp>This pandemic year will go down in history as the year without blockbusters—not one, single, billion-dollar superhero epic or action-adventure.\u003c/p>\n\u003cp>But it will also be remembered as a watershed for inclusion. The Academy of Motion Picture Arts and Sciences, which produces the Oscars has already made history by nominating the most diverse slate of actors ever, as well as a record number of women. Had studios thrown their weight behind the usual, big-budget spectacles, that might not have happened.\u003c/p>\n\u003cp>By letting less expensive, more socially conscious films lead the way back to cinemas, studios have—possibly inadvertently—ended up championing work that speaks to this moment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Next year, the blockbusters will return, and with them, no doubt, a lot of inequities that seem wedded to the cash they generate. But in the meantime, audiences get to celebrate artists for whom the recognition brought by awards may just have greater value than dollars.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Neither+%23OscarsSoWhite+Nor+%23OscarsSoMale+%E2%80%94+What+A+Difference+A+Pandemic+Makes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past year of masks, lockdowns, and capacity restrictions has been the most catastrophic 12 months in the history of movie theaters. It has also been a banner year for diversity at the Oscars.\u003c/p>\n\u003cp>Odd as this might seem, I suspect those two things are related—a matter of industry imperatives meeting cold hard cash. And as salutary as the diversity part is, it’s going to take some work to make it permanent. The Academy of Motion Picture Arts and Sciences, which awards the Oscars, has signaled a willingness to do that work with inclusion standards for Best Picture nominees. They’ll start phasing them in next year.\u003c/p>\n\u003cp>This year, they got lucky.\u003c/p>\n\u003cp>One thing you don’t want, if you’re in charge of the Oscars, is a hashtag—especially something like #OscarsSoWhite—as telecast host Chris Rock acknowledged in 2016, when that one went viral. “It’s the 88th Academy Awards,” he said then to applause, “which means this whole no-black-nominees thing has happened at least 71 other times.”\u003c/p>\n\u003cp>The situation didn’t change much in the next few years. Last year’s Oscars were again among the least diverse in recent memory; only one of 20 acting nominees was non-white.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this year, nine of the 20—almost half the acting nominees—are non-white.\u003c/p>\n\u003cp>Another telecast, another hashtag: 2018 was the year of #OscarsSoMale, which Frances McDormand riffed on in her Best Actress acceptance speech by asking to have “all the female nominees in every category stand with me in this room tonight.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dozens of women stood as the crowd cheered but, again, it didn’t initially have much effect. Last year, just as in 86 of the 91 previous years, not a single woman director was nominated, even though McDormand had closed-out this speech urging her colleagues to insist on women behind the camera by adding a clause to their contracts called an “inclusion rider.”\u003c/p>\n\u003cp>But McDormand took her own advice and this year, what a difference a pandemic makes. She produced as well as starred in \u003cem>Nomadland\u003c/em>, a film based on a book by a woman, featuring the stories of quite a few women, and scripted, edited and directed by Chloe Zhao, who, for the first time in Hollywood history, is a woman competing with a second woman in the directing category.\u003c/p>\n\u003cp>As for the unprecedented number of actors of color among the nominees, it represents a remarkable moment of recognition.\u003c/p>\n\u003cp>There were the nominations for vibrant performances in the true stories of celebrated African-American figures: Daniel Kaluuya and Lakeith Stanfield, each a Best Supporting Actor nominee as, respectively, Black Panther Fred Hampton and the informant who set him up for assassination in \u003cem>Judas and the Black Messiah\u003c/em>; Andra Day as Best Actress for playing blues legend Lady Day in \u003cem>The United States Vs. Billie Holiday\u003c/em>; Leslie Odom Jr. for Supporting Actor as Sam Cooke in \u003cem>One Night in Miami. \u003c/em>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And there were nominations for acting as fictional characters too: A blues singer and her trumpet player in \u003cem>Ma Rainey’s Black Bottom\u003c/em> earned Viola Davis and the late Chadwick Bosemen nods for Best Actress and Actor. Youn Yuh-Jung received a supporting actress nomination as a feisty grandmother in \u003cem>Minari\u003c/em>, the story of Korean immigrants in Arkansas. Riz Ahmed became the first Muslim Best Actor nominee playing a heavy metal drummer who suffers hearing loss in \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>All are eye-opening performances that, taken together, are a clear sign that this is a year of inclusion for the Academy.\u003c/p>\n\u003cp>But not necessarily because Tinseltown has awakened to the virtues of diversity. These are the films that studios decided to open in the middle of a pandemic, a decision that they were well aware would have financial consequences.\u003c/p>\n\u003cp>Films usually get an Oscar bounce from being nominated—a bump in ticket sales that, in a normal year, can amount to many millions of dollars, and also give a film far more reach.\u003c/p>\n\u003cp>Last year’s Best Picture winner, \u003cem>Parasite\u003c/em>, is a case in point. The film was playing in 300 theaters before it was nominated. Following the award, its run in the U.S. expanded to five times as many theaters.\u003c/p>\n\u003cp>But this year, with cinemas mostly closed, and audiences skittish about crowds, that box office bounce doesn’t exist. If you take all eight of the Best Picture nominees, and combine their earnings, the total comes to barely $35 million worldwide. That would be an unimpressive number for just one nominee in a normal year.\u003c/p>\n\u003cp>So to compete for an Oscar in 2020, a filmmaker had to make an almost Faustian bargain: Come out mid-pandemic for awards consideration and lose your shirt, or sell your soul for bigger box office after the pandemic and lose your shot. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the films regarded as Oscar shoo-ins decided to wait. A new version of the musical \u003cem>West Side Story,\u003c/em> for instance, with a script by Pulitzer winner Tony Kushner, directed by Oscar winner Steven Spielberg. Also the star-studded costume epic \u003cem>The Last Duel\u003c/em> from \u003cem>Gladiator \u003c/em>director Ridley Scott. And \u003cem>The French Dispatch\u003c/em>, the latest weirdness from Wes Anderson, director of \u003cem>Grand Budapest Hotel.\u003c/em>\u003c/p>\n\u003cp>These films were all shot, edited, and ready-to-go in plenty of time for Oscar consideration, but their studios opted to wait. And from a financial perspective, it’s easy to see why. Until a couple of weeks ago, New York and Los Angeles—the two markets that make-or-break prestige pictures—were still not allowing theaters to open.\u003c/p>\n\u003cp>Almost as bad, the theaters elsewhere that were open were reducing attendance to as little as 25 per cent of capacity. That scared off even the commercial crowd, from 007, to Marvel superheroes, to the \u003cem>Fast & Furious\u003c/em> crew.\u003c/p>\n\u003cp>If they weren’t willing to brave the crippling economics at cinemas in a pandemic year, why should Oscar hopefuls?\u003c/p>\n\u003cp>So when filmmakers had the clout to say “let’s wait” they did. And who had that clout? The same mostly male, mostly white stars, producers and studio heads who’ve always had it.\u003c/p>\n\u003cp>Who apparently didn’t have that clout? Well, start with the women who made \u003cem>Nomadland\u003c/em> and \u003cem>Promising Young Woman\u003c/em>. Or the Korean-American director of the low-budget indie, \u003cem>Minari.\u003c/em>\u003c/p>\n\u003cp>Or even the well-connected folks behind \u003cem>Judas and the Black Messiah\u003c/em> who are the first all-Black producing team ever nominated for Best Picture. They told \u003cem>The Hollywood Reporter\u003c/em> they’d originally thought their film would perform about as well as \u003cem>Straight Outta Compton\u003c/em>, which earned $200 million worldwide. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pandemic lowered that estimate, and Warner’s decision to stream all its films the same day they hit theaters lowered it further. Left with no choice but to go along, the producers watched as their film stalled at the box office. Instead of $200 million, \u003cem>Judas and the Black Messiah\u003c/em> has made less than $6 million.\u003c/p>\n\u003cp>It’s not easy to imagine a Steven Spielberg being put in that position.\u003c/p>\n\u003cp>Is this another way of saying Hollywood’s power and privilege still resides mostly with white men? The power to maximize box office; the privilege of making event pictures so expensive they can’t be treated as loss-leaders for streaming services.\u003c/p>\n\u003cp>Well, sure. But while dollars are important, for filmmakers who have traditionally been marginalized, they are not all-important.\u003c/p>\n\u003cp>This pandemic year will go down in history as the year without blockbusters—not one, single, billion-dollar superhero epic or action-adventure.\u003c/p>\n\u003cp>But it will also be remembered as a watershed for inclusion. The Academy of Motion Picture Arts and Sciences, which produces the Oscars has already made history by nominating the most diverse slate of actors ever, as well as a record number of women. Had studios thrown their weight behind the usual, big-budget spectacles, that might not have happened.\u003c/p>\n\u003cp>By letting less expensive, more socially conscious films lead the way back to cinemas, studios have—possibly inadvertently—ended up championing work that speaks to this moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next year, the blockbusters will return, and with them, no doubt, a lot of inequities that seem wedded to the cash they generate. But in the meantime, audiences get to celebrate artists for whom the recognition brought by awards may just have greater value than dollars.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Neither+%23OscarsSoWhite+Nor+%23OscarsSoMale+%E2%80%94+What+A+Difference+A+Pandemic+Makes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Quo Vadis, Aida?' Asks: Where Does a Society Go After War Ends?",
"headTitle": "‘Quo Vadis, Aida?’ Asks: Where Does a Society Go After War Ends? | KQED",
"content": "\u003cp>Filmmaker Jasmila Zbanic was a 17-year-old student living in Sarajevo with her family when the Bosnian war began in April 1992. As clashes over Bosnia’s referendum for independence first started, she says nobody imagined there could ever be a full war. “It started like [the] riots on Congress in January in [the] U.S. … I was happy when this happened because I thought what a cool thing not to go to school and have [the] whole city stop,” she says.\u003c/p>\n\u003cp>Instead, the ensuing siege of Sarajevo became part of the longest and bloodiest armed conflict in Europe since World War II. The experience marked Zbanic as a young woman—and as an artist—and her award-winning films have explored the legacy of war with a particular focus on women’s stories. Her latest film \u003cem>Quo Vadis, Aida?\u003c/em> is among the nominees for this year’s Oscars for Best International Feature and it dramatizes the genocide of more than 8,000 Bosnian Muslim men and boys in Srebrenica in July 1995.\u003c/p>\n\u003cp>Journalist Christiane Amanpour, who covered the war for CNN, says she was “gobsmacked” by the film and it took her right back to the asymmetry of that conflict. “I was a young woman in my first real war and it took me several weeks, maybe a couple of months, to understand that in Bosnia there was no question that there was an aggressor, clearly defined and there were victims, clearly defined. The aggressors were white Christians who were the Serbs and the Bosnian Serbs. The victims were white European Muslims and the aim of the aggressor was exactly the definition of genocide: to destroy a community in part or in whole based on their ethnicity.”\u003c/p>\n\u003cp>Zbanic spent years researching the real-world politics and mass violence that unfolded in Srebrenica but she says she knew she was also creating a piece of cinema. “Media are dealing with numbers or shocking images but cinema allows us to identify with characters and spend time with them and be with their decisions, having [the] feeling that it’s in real time,” she says.\u003c/p>\n\u003cp>Her version eschews on-screen violence and widescreen battles for a more immersive and intimate experience than traditional Hollywood war films. “I just respect [the] audience very much and I know that [an] audience can imagine many things so I didn’t show blood and violence in an obvious way. I really think we don’t have to see men in blood to know that they were all killed.”\u003c/p>\n\u003cfigure id=\"attachment_13895792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/jasmila-zbanic-c-deblokada-photo-by-imrana-kapetanovic_enl-57353808e02f73f7c9ad5abd7c075ea90ff20b43-800x1200.jpg\" alt=\"Jasmila Žbanić, who wrote and directed 'Quo Vadis, Aida?'\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Jasmila Žbanić wrote and directed ‘Quo Vadis, Aida?’ \u003ccite>(Super LTD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zbanic tells the story of Srebrenica through Aida, a former teacher working as a translator for the United Nations forces. Played by acclaimed Serbian actress Jasna Duricic, Aida rushes between meetings and military negotiations as Srebrenica is ethnically cleansed, her own family joining the thousands of refugees outside the gates of the U.N. base seeking protection. Despite her privileged status as a United Nations employee, she is unable to ensure her own family’s safety. Zbanic says the U.N. betrayed the people it sought to protect and Aida is a tragic character placed at the intersection of that impossible position. In a landmark 1999 report completed under then Secretary General Kofi Annan, the United Nations acknowledged its systemic failures to intervene and protect civilians in Srebrenica.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite being Bosnia’s entry to this year’s Oscars, for some viewers, the film has been simply too painful to watch. Amir Husak, who is a Bosnian filmmaker and scholar of media studies at The New School says, “I can tell you that many of my friends and family reported not being able to finish the film in one sitting. It’s a collective trauma that we’re speaking about and it brings back many painful memories.” [aside postid='arts_80724']\u003c/p>\n\u003cp>More than 25 years after the events of Srebrenica, the bones of missing victims are still being found in mass graves surrounding the forests where the film is set. Zbanic says she has been following the stories of those discoveries and \u003cem>Quo Vadis, Aida? \u003c/em>includes Aida’s own search for closure in the present day. In this on screen portrayal, Zbanic says she wanted to pay tribute to the mothers of Srebrenica who have shown a way beyond the politics of vengeance.\u003c/p>\n\u003cp>“These women of Srebrenica are what we thought once saints are,” Zbanic adds. “They are really going back and facing these perpetrators and there was not a single case of revenge. They shaped our country in completely unbelievable ways because they said no revenge, we just want people who did killings to be in prison and they are always talking about truth and justice, not revenge, and how we have to live together.”\u003c/p>\n\u003cp>Therefore the film’s title—\u003cem>Quo Vadis, Aida?\u003c/em>—\u003ca href=\"https://www.nationalgallery.org.uk/paintings/glossary/domine-quo-vadis\" target=\"_blank\" rel=\"noopener noreferrer\">taken from the apocryphal Christian tradition\u003c/a>—asks the question at the heart of the film’s story: where is Aida going and where does a society go after a war ends?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5Kn4TOJwR2w\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Quo+Vadis%2C+Aida%3F%27+Asks%3A+Where+Does+A+Society+Go+After+War+Ends%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Filmmaker Jasmila Zbanic was a 17-year-old student living in Sarajevo with her family when the Bosnian war began in April 1992. As clashes over Bosnia’s referendum for independence first started, she says nobody imagined there could ever be a full war. “It started like [the] riots on Congress in January in [the] U.S. … I was happy when this happened because I thought what a cool thing not to go to school and have [the] whole city stop,” she says.\u003c/p>\n\u003cp>Instead, the ensuing siege of Sarajevo became part of the longest and bloodiest armed conflict in Europe since World War II. The experience marked Zbanic as a young woman—and as an artist—and her award-winning films have explored the legacy of war with a particular focus on women’s stories. Her latest film \u003cem>Quo Vadis, Aida?\u003c/em> is among the nominees for this year’s Oscars for Best International Feature and it dramatizes the genocide of more than 8,000 Bosnian Muslim men and boys in Srebrenica in July 1995.\u003c/p>\n\u003cp>Journalist Christiane Amanpour, who covered the war for CNN, says she was “gobsmacked” by the film and it took her right back to the asymmetry of that conflict. “I was a young woman in my first real war and it took me several weeks, maybe a couple of months, to understand that in Bosnia there was no question that there was an aggressor, clearly defined and there were victims, clearly defined. The aggressors were white Christians who were the Serbs and the Bosnian Serbs. The victims were white European Muslims and the aim of the aggressor was exactly the definition of genocide: to destroy a community in part or in whole based on their ethnicity.”\u003c/p>\n\u003cp>Zbanic spent years researching the real-world politics and mass violence that unfolded in Srebrenica but she says she knew she was also creating a piece of cinema. “Media are dealing with numbers or shocking images but cinema allows us to identify with characters and spend time with them and be with their decisions, having [the] feeling that it’s in real time,” she says.\u003c/p>\n\u003cp>Her version eschews on-screen violence and widescreen battles for a more immersive and intimate experience than traditional Hollywood war films. “I just respect [the] audience very much and I know that [an] audience can imagine many things so I didn’t show blood and violence in an obvious way. I really think we don’t have to see men in blood to know that they were all killed.”\u003c/p>\n\u003cfigure id=\"attachment_13895792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/jasmila-zbanic-c-deblokada-photo-by-imrana-kapetanovic_enl-57353808e02f73f7c9ad5abd7c075ea90ff20b43-800x1200.jpg\" alt=\"Jasmila Žbanić, who wrote and directed 'Quo Vadis, Aida?'\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Jasmila Žbanić wrote and directed ‘Quo Vadis, Aida?’ \u003ccite>(Super LTD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zbanic tells the story of Srebrenica through Aida, a former teacher working as a translator for the United Nations forces. Played by acclaimed Serbian actress Jasna Duricic, Aida rushes between meetings and military negotiations as Srebrenica is ethnically cleansed, her own family joining the thousands of refugees outside the gates of the U.N. base seeking protection. Despite her privileged status as a United Nations employee, she is unable to ensure her own family’s safety. Zbanic says the U.N. betrayed the people it sought to protect and Aida is a tragic character placed at the intersection of that impossible position. In a landmark 1999 report completed under then Secretary General Kofi Annan, the United Nations acknowledged its systemic failures to intervene and protect civilians in Srebrenica.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite being Bosnia’s entry to this year’s Oscars, for some viewers, the film has been simply too painful to watch. Amir Husak, who is a Bosnian filmmaker and scholar of media studies at The New School says, “I can tell you that many of my friends and family reported not being able to finish the film in one sitting. It’s a collective trauma that we’re speaking about and it brings back many painful memories.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than 25 years after the events of Srebrenica, the bones of missing victims are still being found in mass graves surrounding the forests where the film is set. Zbanic says she has been following the stories of those discoveries and \u003cem>Quo Vadis, Aida? \u003c/em>includes Aida’s own search for closure in the present day. In this on screen portrayal, Zbanic says she wanted to pay tribute to the mothers of Srebrenica who have shown a way beyond the politics of vengeance.\u003c/p>\n\u003cp>“These women of Srebrenica are what we thought once saints are,” Zbanic adds. “They are really going back and facing these perpetrators and there was not a single case of revenge. They shaped our country in completely unbelievable ways because they said no revenge, we just want people who did killings to be in prison and they are always talking about truth and justice, not revenge, and how we have to live together.”\u003c/p>\n\u003cp>Therefore the film’s title—\u003cem>Quo Vadis, Aida?\u003c/em>—\u003ca href=\"https://www.nationalgallery.org.uk/paintings/glossary/domine-quo-vadis\" target=\"_blank\" rel=\"noopener noreferrer\">taken from the apocryphal Christian tradition\u003c/a>—asks the question at the heart of the film’s story: where is Aida going and where does a society go after a war ends?\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5Kn4TOJwR2w'\n title='//www.youtube.com/embed/5Kn4TOJwR2w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Quo+Vadis%2C+Aida%3F%27+Asks%3A+Where+Does+A+Society+Go+After+War+Ends%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Traveling is viable again, according to the CDC, for those with the blessed vaccine (and the bucks). But voyaging abroad remains a risky venture. Two local film festivals, both with exceptionally large footprints and coincidentally marking their 18th years, step up to satisfy the craving to be footloose.\u003c/p>\n\u003cp>\u003ca href=\"https://intloceanfilmfest.org/ioff2021\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>International Ocean Film Festival\u003c/strong>\u003c/a>\u003cbr>\nApril 15–May 2\u003cbr>\nOnline and drive-in at Fort Mason Center\u003c/p>\n\u003cp>Once upon a time, the most widely seen “nature” films outside of PBS were Warren Miller’s ski films and Thomas Campbell’s surf films. \u003cem>Winged Migration\u003c/em> and \u003cem>An Inconvenient Truth\u003c/em> mainstreamed Mother Nature far beyond the extreme sports crowd, then public interest and portable, durable, hi-res digital video cameras launched environmental films into what’s evolved into a dynamic subgenre of documentary.\u003c/p>\n\u003cp>Even still, the breadth and depth (pun intended) of the International Ocean Film Festival program is remarkable. Seventeen countries are represented across 11 themed categories (Our Blue World, Whales, Coastal Communities and Cultures, Coral Reefs and yes, Surfing, among them). Perhaps the pandemic hyper-focused filmmakers on their footage, turning 2020 into a busy year for editors (and composers).\u003c/p>\n\u003cp>The IOFF is onboard with the hallmark of the virtual film festival, namely audience participation. Join the conversation via numerous Q&As with filmmakers, environmentalists and activists, and watch for free and vote for your faves among the 10 finalists in the student film competition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of the dozen or so feature films, I sampled a couple of the U.S. premieres, beginning with Australian underwater cinematographer Nays Baghai’s ruminative portrait of Dutch ice freediver Kiki Bosch. For his debut feature (66 minutes, to be precise), \u003cem>Descent\u003c/em>, Baghai willfully spotlights the meditative nature of diving rather than its adrenalized appeal. Instead of daredevil exploits, Bosch’s bone-chilling, cold-water ventures to Iceland and Greenland are presented as destinations on a personal journey narrated by its erstwhile heroine.\u003c/p>\n\u003cp>Originally, Bosch’s impetus was athletics and adventure. When she was raped in her late teens/early 20s, the joy of diving disappeared. Eventually she rediscovered cold-water activities as a means of healing, and through recovery and research became a practitioner of the Wim Hof method of breathing and cold therapy.\u003c/p>\n\u003cp>\u003cem>Descent\u003c/em> is a sobering, contemplative coming-of-age story rather than a vicarious ride-along with someone testing their limits. Bosch seeks, and Baghi honors, “the calm under the waves.” Some viewers will embrace that vibe, while thrill seekers will have to be satisfied with gorgeous settings and jolting ice baths. \u003c/p>\n\u003cfigure id=\"attachment_13895767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ocean-Souls.jpg\" alt=\"A view of a whale underwater, turned so its belly is visible along with two flippers.\" width=\"800\" height=\"492\" class=\"size-full wp-image-13895767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ocean-Souls.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ocean-Souls-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ocean-Souls-768x472.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ocean Souls.’ \u003ccite>(Courtesy International Ocean Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bosch is the only figure in sight for most of \u003cem>Descent\u003c/em>, while U.K. filmmaker Philip Hamilton fills every frame of \u003cem>Ocean Souls\u003c/em> with whales and dolphins. Unabashed undersea wonder is a significant element of the film, contributing to its overriding goal of impressing us with the animals’ unappreciated and underrated qualities: intelligence, communication and sophisticated social structures (of child-raising, especially).\u003c/p>\n\u003cp>A narrator—one of those slightly arrogant British voices, alas—describes the thinking and behavior of the graceful and often playful creatures, but \u003cem>Ocean Souls\u003c/em> assuredly does not anthropomorphize whales and dolphins. (That’s Disney’s domain.) The filmmaker makes another welcome decision to only include a few seconds, words and images conveying the human damage and ongoing threats (not just climate change but the volume of commercial ocean traffic) to dolphins’ and whales’ health and long-term prospects.\u003c/p>\n\u003cp>That restraint in no way lessens the implicit message of \u003cem>Ocean Souls\u003c/em>, namely that these animals are immensely important and deserve protection. That’s the aim of the vast majority of films about the environment and the natural world, of course; their challenge is catalyzing viewers by means other than depressing, sensationalist destruction. The International Ocean Film Festival abounds with approaches that do precisely that.\u003c/p>\n\u003cfigure id=\"attachment_13895765\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200.jpg\" alt=\"A close-up view of the tailor character, dressed in a pristine three-piece suit with a checkered tie, behind him are bolts of fabric in many patterns and colors. He looks hopeful, as if about to say something.\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13895765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dimitris Imellos plays Nikos in ‘Tailor.’ \u003ccite>(Courtesy San Francisco Greek Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://sfgff2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>San Francisco Greek Film Festival\u003c/strong>\u003c/a>\u003cbr>\nApr 16–25\u003cbr>\nOnline and drive-in at Par 3 at Poplar Creek, San Mateo \u003c/p>\n\u003cp>In the early 1990s, on one of my trips to the enormous and now-defunct Montreal World Film Festival, the program included a sidebar on contemporary Greek films. Greece is known for many things, but its national cinema is not, shall we say, one of Europe’s most renowned. Indeed, it’s rare for a Greek film to get a U.S. release. So I squeezed a couple titles into my festival schedule, realizing this was my only chance to see movies from Greece. Unfortunately, both were lackluster works that looked and felt like ’70s TV movies.\u003c/p>\n\u003cp>Even a cursory peep at the San Francisco Greek Film Festival program is sufficient to render my Montreal memory mirage-like. The accomplished productions curated for your streaming pleasure—all free, incredibly—encompass every genre from cerebral arthouse riddle (\u003cem>The Miracle of the Sargasso Sea\u003c/em>) to crime-tinged black comedy (\u003cem>Ballad for a Pierced Heart\u003c/em>) to food-centered mystery (\u003cem>Green Sea\u003c/em>). There’s even a musical drama, \u003cem>Fantasia\u003c/em>, playing at the Par 3 in Poplar Creek in San Mateo on Sunday, April 18.\u003c/p>\n\u003cfigure id=\"attachment_13895766\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200.jpg\" alt=\"An outdoor scene of many women dressed in glamorous white wedding dresses, clustered around a tailor in a gray vest and pants fitting a smiling woman in a white peplum top. A woman in a midi-length patterned red dress stands across from the tailor with her arms out in a questioning pose.\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13895766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Tailor.’ \u003ccite>(Courtesy San Francisco Greek Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While I was tempted by all the aforementioned films, I opted for \u003cem>Tailor\u003c/em>, a tender drama with a droll veneer. The film is precise and attentive to every detail and composition—reflecting its meticulous protagonist—yet fastidious about avoiding conventional plot turns and pat interpretations. Nikos is a middle-aged bachelor who’s labored in the shadow of his demanding father, sewing custom suits for discerning men. But that chapter is ending: The clientele is dying off, the bank is foreclosing on the business and health issues are forcing the father to reluctantly relinquish the business.\u003c/p>\n\u003cp>Dimitris Imelios, who plays Nikos, looks like mid-career Robert De Niro with a hangdog expression. A whiz with his hands, he builds a portable cart and takes his cloths and tools to the streets of Athens, where he unexpectedly stumbles onto a potential new market: women, notably mothers of brides in need of dresses.\u003c/p>\n\u003cp>\u003cem>Tailor\u003c/em> operates on a curious yet accessible wavelength that has the effect of understating its themes of quiet mid-life desperation, stifled creativity and parental acceptance. To put it another way, the premise of Sonia Liza Kenterman’s feature directorial debut has built-in commercial potential that she consistently downplays, sidesteps or ignores. You have to respect that kind of integrity.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It even features a romantic subplot and a precocious child—a mother and daughter, as it happens—that pan out in ways we expect and ways we don’t. The film is both exquisitely made and willfully offbeat, so see it before an enterprising Hollywood producer remakes it—with a younger De Niro, or, heaven help us, Gerard Butler—and trades its low-key charms for syrupy sentimentality.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Traveling is viable again, according to the CDC, for those with the blessed vaccine (and the bucks). But voyaging abroad remains a risky venture. Two local film festivals, both with exceptionally large footprints and coincidentally marking their 18th years, step up to satisfy the craving to be footloose.\u003c/p>\n\u003cp>\u003ca href=\"https://intloceanfilmfest.org/ioff2021\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>International Ocean Film Festival\u003c/strong>\u003c/a>\u003cbr>\nApril 15–May 2\u003cbr>\nOnline and drive-in at Fort Mason Center\u003c/p>\n\u003cp>Once upon a time, the most widely seen “nature” films outside of PBS were Warren Miller’s ski films and Thomas Campbell’s surf films. \u003cem>Winged Migration\u003c/em> and \u003cem>An Inconvenient Truth\u003c/em> mainstreamed Mother Nature far beyond the extreme sports crowd, then public interest and portable, durable, hi-res digital video cameras launched environmental films into what’s evolved into a dynamic subgenre of documentary.\u003c/p>\n\u003cp>Even still, the breadth and depth (pun intended) of the International Ocean Film Festival program is remarkable. Seventeen countries are represented across 11 themed categories (Our Blue World, Whales, Coastal Communities and Cultures, Coral Reefs and yes, Surfing, among them). Perhaps the pandemic hyper-focused filmmakers on their footage, turning 2020 into a busy year for editors (and composers).\u003c/p>\n\u003cp>The IOFF is onboard with the hallmark of the virtual film festival, namely audience participation. Join the conversation via numerous Q&As with filmmakers, environmentalists and activists, and watch for free and vote for your faves among the 10 finalists in the student film competition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of the dozen or so feature films, I sampled a couple of the U.S. premieres, beginning with Australian underwater cinematographer Nays Baghai’s ruminative portrait of Dutch ice freediver Kiki Bosch. For his debut feature (66 minutes, to be precise), \u003cem>Descent\u003c/em>, Baghai willfully spotlights the meditative nature of diving rather than its adrenalized appeal. Instead of daredevil exploits, Bosch’s bone-chilling, cold-water ventures to Iceland and Greenland are presented as destinations on a personal journey narrated by its erstwhile heroine.\u003c/p>\n\u003cp>Originally, Bosch’s impetus was athletics and adventure. When she was raped in her late teens/early 20s, the joy of diving disappeared. Eventually she rediscovered cold-water activities as a means of healing, and through recovery and research became a practitioner of the Wim Hof method of breathing and cold therapy.\u003c/p>\n\u003cp>\u003cem>Descent\u003c/em> is a sobering, contemplative coming-of-age story rather than a vicarious ride-along with someone testing their limits. Bosch seeks, and Baghi honors, “the calm under the waves.” Some viewers will embrace that vibe, while thrill seekers will have to be satisfied with gorgeous settings and jolting ice baths. \u003c/p>\n\u003cfigure id=\"attachment_13895767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ocean-Souls.jpg\" alt=\"A view of a whale underwater, turned so its belly is visible along with two flippers.\" width=\"800\" height=\"492\" class=\"size-full wp-image-13895767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ocean-Souls.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ocean-Souls-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ocean-Souls-768x472.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ocean Souls.’ \u003ccite>(Courtesy International Ocean Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bosch is the only figure in sight for most of \u003cem>Descent\u003c/em>, while U.K. filmmaker Philip Hamilton fills every frame of \u003cem>Ocean Souls\u003c/em> with whales and dolphins. Unabashed undersea wonder is a significant element of the film, contributing to its overriding goal of impressing us with the animals’ unappreciated and underrated qualities: intelligence, communication and sophisticated social structures (of child-raising, especially).\u003c/p>\n\u003cp>A narrator—one of those slightly arrogant British voices, alas—describes the thinking and behavior of the graceful and often playful creatures, but \u003cem>Ocean Souls\u003c/em> assuredly does not anthropomorphize whales and dolphins. (That’s Disney’s domain.) The filmmaker makes another welcome decision to only include a few seconds, words and images conveying the human damage and ongoing threats (not just climate change but the volume of commercial ocean traffic) to dolphins’ and whales’ health and long-term prospects.\u003c/p>\n\u003cp>That restraint in no way lessens the implicit message of \u003cem>Ocean Souls\u003c/em>, namely that these animals are immensely important and deserve protection. That’s the aim of the vast majority of films about the environment and the natural world, of course; their challenge is catalyzing viewers by means other than depressing, sensationalist destruction. The International Ocean Film Festival abounds with approaches that do precisely that.\u003c/p>\n\u003cfigure id=\"attachment_13895765\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200.jpg\" alt=\"A close-up view of the tailor character, dressed in a pristine three-piece suit with a checkered tie, behind him are bolts of fabric in many patterns and colors. He looks hopeful, as if about to say something.\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13895765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dimitris Imellos plays Nikos in ‘Tailor.’ \u003ccite>(Courtesy San Francisco Greek Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://sfgff2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>San Francisco Greek Film Festival\u003c/strong>\u003c/a>\u003cbr>\nApr 16–25\u003cbr>\nOnline and drive-in at Par 3 at Poplar Creek, San Mateo \u003c/p>\n\u003cp>In the early 1990s, on one of my trips to the enormous and now-defunct Montreal World Film Festival, the program included a sidebar on contemporary Greek films. Greece is known for many things, but its national cinema is not, shall we say, one of Europe’s most renowned. Indeed, it’s rare for a Greek film to get a U.S. release. So I squeezed a couple titles into my festival schedule, realizing this was my only chance to see movies from Greece. Unfortunately, both were lackluster works that looked and felt like ’70s TV movies.\u003c/p>\n\u003cp>Even a cursory peep at the San Francisco Greek Film Festival program is sufficient to render my Montreal memory mirage-like. The accomplished productions curated for your streaming pleasure—all free, incredibly—encompass every genre from cerebral arthouse riddle (\u003cem>The Miracle of the Sargasso Sea\u003c/em>) to crime-tinged black comedy (\u003cem>Ballad for a Pierced Heart\u003c/em>) to food-centered mystery (\u003cem>Green Sea\u003c/em>). There’s even a musical drama, \u003cem>Fantasia\u003c/em>, playing at the Par 3 in Poplar Creek in San Mateo on Sunday, April 18.\u003c/p>\n\u003cfigure id=\"attachment_13895766\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200.jpg\" alt=\"An outdoor scene of many women dressed in glamorous white wedding dresses, clustered around a tailor in a gray vest and pants fitting a smiling woman in a white peplum top. A woman in a midi-length patterned red dress stands across from the tailor with her arms out in a questioning pose.\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13895766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Tailor.’ \u003ccite>(Courtesy San Francisco Greek Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While I was tempted by all the aforementioned films, I opted for \u003cem>Tailor\u003c/em>, a tender drama with a droll veneer. The film is precise and attentive to every detail and composition—reflecting its meticulous protagonist—yet fastidious about avoiding conventional plot turns and pat interpretations. Nikos is a middle-aged bachelor who’s labored in the shadow of his demanding father, sewing custom suits for discerning men. But that chapter is ending: The clientele is dying off, the bank is foreclosing on the business and health issues are forcing the father to reluctantly relinquish the business.\u003c/p>\n\u003cp>Dimitris Imelios, who plays Nikos, looks like mid-career Robert De Niro with a hangdog expression. A whiz with his hands, he builds a portable cart and takes his cloths and tools to the streets of Athens, where he unexpectedly stumbles onto a potential new market: women, notably mothers of brides in need of dresses.\u003c/p>\n\u003cp>\u003cem>Tailor\u003c/em> operates on a curious yet accessible wavelength that has the effect of understating its themes of quiet mid-life desperation, stifled creativity and parental acceptance. To put it another way, the premise of Sonia Liza Kenterman’s feature directorial debut has built-in commercial potential that she consistently downplays, sidesteps or ignores. You have to respect that kind of integrity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It even features a romantic subplot and a precocious child—a mother and daughter, as it happens—that pan out in ways we expect and ways we don’t. The film is both exquisitely made and willfully offbeat, so see it before an enterprising Hollywood producer remakes it—with a younger De Niro, or, heaven help us, Gerard Butler—and trades its low-key charms for syrupy sentimentality.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For Indie Movie Theaters in the Bay Area, an Uphill Climb to Reopening",
"headTitle": "For Indie Movie Theaters in the Bay Area, an Uphill Climb to Reopening | KQED",
"content": "\u003cp>On March 13 of last year, Lex Sloan had been planning for a sold-out weekend of movies at the \u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> when she decided to \u003ca href=\"https://www.roxie.com/a-message-to-our-patrons-regarding-covid-19/\" rel=\"noopener noreferrer\" target=\"_blank\">shut down\u003c/a>. “Health and public safety encouraged us to close our doors early and to remain closed,” explains Sloan, the executive director of the historic indie movie theater in San Francisco’s Mission District.\u003c/p>\n\u003cp>Now, over a year later, large theater chains in the Bay Area like AMC and Regency have reopened their multiplexes while most indie theaters remain closed, a result of reduced resources combined with social-distancing protocols. Smaller cinemas have been forced to innovate to stay afloat, leaning on \u003ca href=\"https://www.gofundme.com/f/rialto-cinemas-needs-your-help\" rel=\"noopener noreferrer\" target=\"_blank\">crowdfunding campaigns\u003c/a> and \u003ca href=\"https://www.thenewparkway.com/very-private-rentals/\" rel=\"noopener noreferrer\" target=\"_blank\">private theater rentals\u003c/a>. As for their reopening, Sloan has a simple prescription.\u003c/p>\n\u003cp>“San Franciscans and Bay Areans \u003ca href=\"https://www.kqed.org/news/11855623/where-can-i-get-a-covid-19-vaccine-in-the-bay-area-your-questions-answered\" rel=\"noopener noreferrer\" target=\"_blank\">getting vaccinated\u003c/a>,” she says. “That’s really the key.” \u003c/p>\n\u003ch2>Indie Theaters Hit Harder\u003c/h2>\n\u003cp>Until the pandemic fully recedes, indie theaters abide by the state’s \u003ca href=\"https://www.cinemasafe.org/\" rel=\"noopener noreferrer\" target=\"_blank\">CinemaSafe\u003c/a> regulations, which mandate reduced capacity and social distancing in movie theaters. These rules make the indoor moviegoing experience safer—and, for many independent exhibitors, less profitable. Smaller venues with less seats, Zastrow explains, will have trouble reaching even 50% capacity while also maintaining six feet of distance between customers.\u003c/p>\n\u003cp>J Moses Caesar, general manager of the \u003ca href=\"https://www.thenewparkway.com/\" rel=\"noopener noreferrer\" target=\"_blank\">New Parkway\u003c/a> in Oakland, concurs. “We had the opportunity to reopen in the fall,” Caesar says. “The numbers just did not pencil out for us, certainly at 25% [capacity] and probably not even at 50%.” Caesar admits the decision to reopen the New Parkway \u003ca href=\"https://twitter.com/TheNewParkway/status/1379630318064447497\" rel=\"noopener noreferrer\" target=\"_blank\">in September\u003c/a> is partially based on the hope that, by then, it will be allowed to operate as a “non-socially distanced theater.”\u003c/p>\n\u003cfigure id=\"attachment_13895685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/New.Parkway-800x600.jpg\" alt=\"The New Parkway auditorium, with couches and seats\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13895685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The New Parkway in Oakland, with couches and household furniture as seating, may wait until social-distancing requirements are scaled back before reopening to the public. \u003ccite>(Flickr/mliu92)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan estimates that the Roxie will also probably lose money when it reopens. “With limited concessions at reduced capacity,” she says, “it’s very unlikely we will be able to break even for the first couple of months that we’re open.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But continued sales of virtual cinema tickets and memberships have given Sloan reason for optimism. This community support, she says, will make the financial losses workable.\u003c/p>\n\u003ch2>Innovations—and Obstacles\u003c/h2>\n\u003cp>Streaming cinema is one of many interim measures that smaller theaters have implemented—in addition to crowdfunding campaigns and private theater rentals—that may remain a fixture of post-pandemic moviegoing. As the specter of the virus looms over public gatherings, at-home digital cinema provides viewers who would rather watch from home with a steady supply of curated programming from their local indie theater. The Roxie Theater, Balboa Theater and the Smith Rafael Film Center have all incorporated a digital cinema arm since initially closing their physical doors.\u003c/p>\n\u003cp>Dan Zastrow, general manager and programmer at the \u003ca href=\"https://rafaelfilm.cafilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael Film Center\u003c/a>, has seen continued engagement with both in-person and virtual offerings since the theater reopened on March 5. “It’s kind of 50/50 in terms of attendance,” Zastrow says. “So, if these kinds of numbers keep holding true, it makes total sense to keep the streaming site going.” \u003c/p>\n\u003cp>Another pandemic-era feature that could possibly stay put is the \u003ca href=\"https://dothebay.com/events/weekly/sun/popcorn-parklet-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">parklet\u003c/a> that owner and operator Adam Bergeron installed in front of the \u003ca href=\"https://www.cinemasf.com/balboa\" rel=\"noopener noreferrer\" target=\"_blank\">Balboa Theater\u003c/a>. The parklet, which features an 80-inch screen and allows for concession sales, has enabled Bergeron to stay in contact with audiences in the absence of indoor screenings. \u003c/p>\n\u003cp>“The neighborhood has really responded to it,” says Bergeron. “I really hope that is something we keep up for as long as we can.”\u003c/p>\n\u003cfigure id=\"attachment_13895683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-800x534.jpg\" alt=\"The Smith Rafael Film Center in San Rafael.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13895683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Smith Rafael Film Center in San Rafael. \u003ccite>(George Lazarus/Courtesy Smith Rafael Film Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A more unwelcome innovation? Major film studios’ aggressive shifts in \u003ca href=\"https://variety.com/2021/film/news/disney-postpones-black-widow-shang-chi-1234935874/\" rel=\"noopener noreferrer\" target=\"_blank\">release strategy\u003c/a> as a response to COVID-19. Warner Bros., for example, is \u003ca href=\"https://www.hollywoodreporter.com/news/warner-bros-smashes-box-office-windows-will-send-2021-slate-to-hbo-max-and-theaters\" rel=\"noopener noreferrer\" target=\"_blank\">releasing its 2021 slate of films simultaneously\u003c/a> in cinemas and on HBOMax. In 2022, Warner will return to theatrical releases, but with a \u003ca href=\"https://www.theverge.com/2021/3/23/22346613/warner-bros-theatrical-releases-2022-hbo-max\" rel=\"noopener noreferrer\" target=\"_blank\">much shorter window of exclusivity\u003c/a>—only 45 days, as opposed to the pre-pandemic 90—that is quickly coalescing as the \u003ca href=\"https://www.cnet.com/news/paramount-plus-to-stream-big-screen-movies-45-days-after-they-hit-theaters/\" rel=\"noopener noreferrer\" target=\"_blank\">new industry standard\u003c/a>.\u003c/p>\n\u003cp>“The theatrical window has irrevocably changed,” admits Ky J. Boyd, director of the \u003ca href=\"https://rialtocinemas.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rialto Cinemas\u003c/a> theaters in Sebastopol, Berkeley and El Cerrito. Titles like Disney’s \u003cem>Luca\u003c/em> \u003ca href=\"https://collider.com/luca-disney-plus-release-date-pixar-movie-details/\" rel=\"noopener noreferrer\" target=\"_blank\">bypassing theaters\u003c/a> for streamers, he says, is a “concerning factor” for him and other exhibitors.\u003c/p>\n\u003ch2>‘We Know Our Customers’ Names’\u003c/h2>\n\u003cp>But many indie theaters see themselves as adaptable to these changes, in a way that the larger theater chains—who depend almost exclusively on studio blockbusters for traffic—aren’t. “We’ve never relied on the Disney hits to keep our theater going,” says Sloan. “At the megaplexes, you’ll see Godzilla vs. Whoever on their screens, like, all week long. At the Roxie, we usually do 14 different titles a week.”\u003c/p>\n\u003cp>Upcoming programming across Bay Area arthouses follows this niche model, guided by local tastes and suggestions. The Balboa is reopening May 14 with a festival of 10 classic Godzilla flicks; the New Parkway is planning a series of theme weeks; and the Rafael is currently showing quirky documentaries and Academy Award-nominated films on 35mm.\u003c/p>\n\u003cp>[aside postID='arts_13894499']It’s this kind of community-driven, creative ethos that theater owners confidently predict will help them maneuver around national chains and reignite their neighborhoods’ desire to come back to the movies. “We know our customers’ names, and they know our names,” says Bergeron. Zastrow echoes: “We are an integral part of the community.”\u003c/p>\n\u003cp>And after a year of darkened auditoriums, reconnecting with their local communities is a buoying prospect for these Bay Area institutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I do think that theaters are going to continue to be a place where audiences discover film, whether it’s indie film or mid-size releases,” says Boyd, voicing a shared sense of optimism among indie cinemas. “Because there’s only so much that the streaming services have.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On March 13 of last year, Lex Sloan had been planning for a sold-out weekend of movies at the \u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> when she decided to \u003ca href=\"https://www.roxie.com/a-message-to-our-patrons-regarding-covid-19/\" rel=\"noopener noreferrer\" target=\"_blank\">shut down\u003c/a>. “Health and public safety encouraged us to close our doors early and to remain closed,” explains Sloan, the executive director of the historic indie movie theater in San Francisco’s Mission District.\u003c/p>\n\u003cp>Now, over a year later, large theater chains in the Bay Area like AMC and Regency have reopened their multiplexes while most indie theaters remain closed, a result of reduced resources combined with social-distancing protocols. Smaller cinemas have been forced to innovate to stay afloat, leaning on \u003ca href=\"https://www.gofundme.com/f/rialto-cinemas-needs-your-help\" rel=\"noopener noreferrer\" target=\"_blank\">crowdfunding campaigns\u003c/a> and \u003ca href=\"https://www.thenewparkway.com/very-private-rentals/\" rel=\"noopener noreferrer\" target=\"_blank\">private theater rentals\u003c/a>. As for their reopening, Sloan has a simple prescription.\u003c/p>\n\u003cp>“San Franciscans and Bay Areans \u003ca href=\"https://www.kqed.org/news/11855623/where-can-i-get-a-covid-19-vaccine-in-the-bay-area-your-questions-answered\" rel=\"noopener noreferrer\" target=\"_blank\">getting vaccinated\u003c/a>,” she says. “That’s really the key.” \u003c/p>\n\u003ch2>Indie Theaters Hit Harder\u003c/h2>\n\u003cp>Until the pandemic fully recedes, indie theaters abide by the state’s \u003ca href=\"https://www.cinemasafe.org/\" rel=\"noopener noreferrer\" target=\"_blank\">CinemaSafe\u003c/a> regulations, which mandate reduced capacity and social distancing in movie theaters. These rules make the indoor moviegoing experience safer—and, for many independent exhibitors, less profitable. Smaller venues with less seats, Zastrow explains, will have trouble reaching even 50% capacity while also maintaining six feet of distance between customers.\u003c/p>\n\u003cp>J Moses Caesar, general manager of the \u003ca href=\"https://www.thenewparkway.com/\" rel=\"noopener noreferrer\" target=\"_blank\">New Parkway\u003c/a> in Oakland, concurs. “We had the opportunity to reopen in the fall,” Caesar says. “The numbers just did not pencil out for us, certainly at 25% [capacity] and probably not even at 50%.” Caesar admits the decision to reopen the New Parkway \u003ca href=\"https://twitter.com/TheNewParkway/status/1379630318064447497\" rel=\"noopener noreferrer\" target=\"_blank\">in September\u003c/a> is partially based on the hope that, by then, it will be allowed to operate as a “non-socially distanced theater.”\u003c/p>\n\u003cfigure id=\"attachment_13895685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/New.Parkway-800x600.jpg\" alt=\"The New Parkway auditorium, with couches and seats\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13895685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The New Parkway in Oakland, with couches and household furniture as seating, may wait until social-distancing requirements are scaled back before reopening to the public. \u003ccite>(Flickr/mliu92)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan estimates that the Roxie will also probably lose money when it reopens. “With limited concessions at reduced capacity,” she says, “it’s very unlikely we will be able to break even for the first couple of months that we’re open.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But continued sales of virtual cinema tickets and memberships have given Sloan reason for optimism. This community support, she says, will make the financial losses workable.\u003c/p>\n\u003ch2>Innovations—and Obstacles\u003c/h2>\n\u003cp>Streaming cinema is one of many interim measures that smaller theaters have implemented—in addition to crowdfunding campaigns and private theater rentals—that may remain a fixture of post-pandemic moviegoing. As the specter of the virus looms over public gatherings, at-home digital cinema provides viewers who would rather watch from home with a steady supply of curated programming from their local indie theater. The Roxie Theater, Balboa Theater and the Smith Rafael Film Center have all incorporated a digital cinema arm since initially closing their physical doors.\u003c/p>\n\u003cp>Dan Zastrow, general manager and programmer at the \u003ca href=\"https://rafaelfilm.cafilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael Film Center\u003c/a>, has seen continued engagement with both in-person and virtual offerings since the theater reopened on March 5. “It’s kind of 50/50 in terms of attendance,” Zastrow says. “So, if these kinds of numbers keep holding true, it makes total sense to keep the streaming site going.” \u003c/p>\n\u003cp>Another pandemic-era feature that could possibly stay put is the \u003ca href=\"https://dothebay.com/events/weekly/sun/popcorn-parklet-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">parklet\u003c/a> that owner and operator Adam Bergeron installed in front of the \u003ca href=\"https://www.cinemasf.com/balboa\" rel=\"noopener noreferrer\" target=\"_blank\">Balboa Theater\u003c/a>. The parklet, which features an 80-inch screen and allows for concession sales, has enabled Bergeron to stay in contact with audiences in the absence of indoor screenings. \u003c/p>\n\u003cp>“The neighborhood has really responded to it,” says Bergeron. “I really hope that is something we keep up for as long as we can.”\u003c/p>\n\u003cfigure id=\"attachment_13895683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-800x534.jpg\" alt=\"The Smith Rafael Film Center in San Rafael.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13895683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Smith Rafael Film Center in San Rafael. \u003ccite>(George Lazarus/Courtesy Smith Rafael Film Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A more unwelcome innovation? Major film studios’ aggressive shifts in \u003ca href=\"https://variety.com/2021/film/news/disney-postpones-black-widow-shang-chi-1234935874/\" rel=\"noopener noreferrer\" target=\"_blank\">release strategy\u003c/a> as a response to COVID-19. Warner Bros., for example, is \u003ca href=\"https://www.hollywoodreporter.com/news/warner-bros-smashes-box-office-windows-will-send-2021-slate-to-hbo-max-and-theaters\" rel=\"noopener noreferrer\" target=\"_blank\">releasing its 2021 slate of films simultaneously\u003c/a> in cinemas and on HBOMax. In 2022, Warner will return to theatrical releases, but with a \u003ca href=\"https://www.theverge.com/2021/3/23/22346613/warner-bros-theatrical-releases-2022-hbo-max\" rel=\"noopener noreferrer\" target=\"_blank\">much shorter window of exclusivity\u003c/a>—only 45 days, as opposed to the pre-pandemic 90—that is quickly coalescing as the \u003ca href=\"https://www.cnet.com/news/paramount-plus-to-stream-big-screen-movies-45-days-after-they-hit-theaters/\" rel=\"noopener noreferrer\" target=\"_blank\">new industry standard\u003c/a>.\u003c/p>\n\u003cp>“The theatrical window has irrevocably changed,” admits Ky J. Boyd, director of the \u003ca href=\"https://rialtocinemas.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rialto Cinemas\u003c/a> theaters in Sebastopol, Berkeley and El Cerrito. Titles like Disney’s \u003cem>Luca\u003c/em> \u003ca href=\"https://collider.com/luca-disney-plus-release-date-pixar-movie-details/\" rel=\"noopener noreferrer\" target=\"_blank\">bypassing theaters\u003c/a> for streamers, he says, is a “concerning factor” for him and other exhibitors.\u003c/p>\n\u003ch2>‘We Know Our Customers’ Names’\u003c/h2>\n\u003cp>But many indie theaters see themselves as adaptable to these changes, in a way that the larger theater chains—who depend almost exclusively on studio blockbusters for traffic—aren’t. “We’ve never relied on the Disney hits to keep our theater going,” says Sloan. “At the megaplexes, you’ll see Godzilla vs. Whoever on their screens, like, all week long. At the Roxie, we usually do 14 different titles a week.”\u003c/p>\n\u003cp>Upcoming programming across Bay Area arthouses follows this niche model, guided by local tastes and suggestions. The Balboa is reopening May 14 with a festival of 10 classic Godzilla flicks; the New Parkway is planning a series of theme weeks; and the Rafael is currently showing quirky documentaries and Academy Award-nominated films on 35mm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s this kind of community-driven, creative ethos that theater owners confidently predict will help them maneuver around national chains and reignite their neighborhoods’ desire to come back to the movies. “We know our customers’ names, and they know our names,” says Bergeron. Zastrow echoes: “We are an integral part of the community.”\u003c/p>\n\u003cp>And after a year of darkened auditoriums, reconnecting with their local communities is a buoying prospect for these Bay Area institutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I do think that theaters are going to continue to be a place where audiences discover film, whether it’s indie film or mid-size releases,” says Boyd, voicing a shared sense of optimism among indie cinemas. “Because there’s only so much that the streaming services have.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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